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THE UNIVERSITY 
OF ILLINOIS 


LIBRARY 


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ERS bE 


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ra 


4 | eandeacteons 6 2 romeancay 


1s 


ARCHITECTURE 


in ‘its 


Development from the Origin to the present Fine 


Introduction to its History, Technics and Styles 


BY 


K. 0. Hartmann 


Volume IT 


Mediaeval and Renaissance 


With 377 Illustrations 


beipzis 


1911 


Translated by N. Clifford Ricker D. Arch. 


Professor of Architecture 


University of Illinois 


Urbana. Ill. 


1912 


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PREFACE, 

The scene of the art evolution considered in this volume is 
the West. In comparison to the first volume, which represents 
the progress of architecture among the peoples of antiquity a 
and of Islem in its wide extent from the Atlantic Gcean to the 
extreme Asian East, the present one eifords a far more unified 
picture. The chdsecracial connection of the western peoples, 
the freouent concord in their intellectual life and in the im- 
pelling forces for art creations compelled a similarity in the 
pases, that wade possible a more thorough treatment of the pr- 
oblem of the handling of interiors and the resulting construc- 
tion and form treatment in the periods of the middle ages and 
of the Renaissance, so full of importance for the history of 
the civilization of mankind. The lively approval enjoyed by 
the principles laid down in the preface to the first volume 
and the manner of its execution, allows the hope to seem just- 
ifiable, that also the second volume, to whose printing the 
publisher has again devoted especial care, that it may find 
favorable acceptance in the circles for whieh the work is des- 
igned. 


Stuttsert. February 1911. Karl 0. Hartmann. 


= ‘ ‘et a 

?.) at ref Th, : 

ie Year PY 4 a ie by oh \ 4 
ah 


Pee ewan Pe aiant: ee hy act ta 

ns ia ~ Ble 
Ai gar - = += -ebesd Lsottotaid bs) fe1sae9 22) 

; if eh cs  singoesidois sugesasmod- to noitufov® .S 
| i canoer Moteessesads. bas Ratansla to eslaitonts4 

a nd “xc Pan hy Reaecun latipes saa iee tile Obie, -aoitulove to 
Pe = + exstosatdors doves esoesaemod 4A 
i os ha ect = 2 She opt tie ee eee) enefq bag019 = .T 
gM i esiubeso7a {soindoof ‘RatdiusV oxstoutisrece® . TT 
1) iain let --*- “eee ee ee = = alstiod - 
ew fsnretal .notterooes bas -saoomtacis Lersdosaidoiws. TIT 
Ted ~ = Bciinisd .etatelvo® .saemsa10 .ogutoes ids 

ae ee ~=<.« = = = aedorsds yistasaom Yo eotatseiduood .VI 
ere eteemmpe ens egtefgdaoneteiadsss $o- bohseds 
* Aas ~ giaomunon bas estitavos tneteTtib oat bestqs = .V 
5 fe eee ee biebisstiwe dae stitasA \yasaise 
wwe ee ee ee = = = siventbuso8 


AM 
- 


Dee Sone eta ale Sone it pie rye eee eoneth 

ew i ie eee ee ele en ee + lett 

A Wie ate aS a oH aye ee Logatios basi atet 

DO a a ee ee = bg (208 
a =. = exgsoesidere wsivese supesasmed .9 

= ~ + asltae .ebatifewd .eettio, io sortsoitsaroF 


tine <= <= - = = Btesd Isotrogetd bas Isisa99 .f 
~—=-*--+- +--+ stutostideors oidtcS to aottsfovk .S 
-gboiied -.softouxsanoo: bas Raisaela to aslatoarre: 
es See ee eee He) 6 aottulovs Io. 
-----~ = siutostidors dowoedio ofdiod 1A 
wee we ee ee tee eee ee Bpasig bayor® .T 
- ~ ~Jnentseit [sistoetidors adf bas sxatouisetequ2® .1T 

«= = eausoatidoid selsizetsit .2e1sb9007q Lsoiadoot 

} ,etivsy eao1 ofitasasxed) etivev to sottourtanod 

-- eee eee - - = ~ fetivsy betten bas 1st2 

 « EIeo bas aet-,esttee boteiws dtiw etiusy boddia. 

re Sen ee we Migiece ls & om: = == .etluev 
ee ee aeisouideaos sowo? 
SRR Bats sit yak a ptialgo8 ats 


aes tie. ae = s+ vale g ayoseasmod of v 


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bad 
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3: 
TABLE OF CONTENTS, 
I. Romanesque Architecture.- ------------+-- 


1. General and historical basis- ----+--+--+--- 

2. Evolution of Romanesque architecture - -- --- 
Principles of planning and construction. Periods 

of evolution- -------+-+--+-+---- -+- 

A, Romanesave church architecture - - - - 

fT. Ground plans! 9 = sh= ee See Se Sie eee 
II, Superstructure. Vaulting. Technical procedures. Ma- 

tertals ---- e-em eRe em ee ew eee ee ee 


Til .Architectural treatment and decoration. Internel ar- 
Chitecture. Ornament. Sculpture. Painting - - - 
IV. Peculiarities of monastery churches - - - - - = -- 
v.  (oPerdoé oof transitioncstyleice ens scenecets -+-< 
V. Spread into different countries and monuments - - = 
Germany, Austria and Switzerland -------- 
Scandinavia --------- +e ee ee ee ee 
France ------ 5-5 -++-+-++-++-+-+--4 
Italy ------ -- eee er ee er ee eh ee ee 
Spain and Portugal - -----+-+-+--+-+-+-- +--+ 
England ------ eee eee eee He ee eee 
B., Romanesque secular architecture <- - - 
Fortification of cities. Dwellings. Castles - - - 
II. Gothic Architecture -------- --+----- +--+ 
1. General and historical basis ------+-+--- 
&. Evolution of Gothic architecture -------- 
Principles of planning and construction. Periods 
of evolution -------- ee +--+ +--+ 
A. Gothic church architecture - -- - - - 
I. Ground plans ---------- eee - eee ee 
II. Superstructure and its architectural treatment- - - 
Technical procedures. Materials. Architecture - - 
Construction of vaults (hexepartite cross vaults, 
star and netted vaults) -- ---------- 
Ribbed vaults with twisted series, fan and cell 
vaults ----- ef eer eee er ee ee ee ee 
Tower construction --~-~------+-e----- 
Wate @obhie -~ — —ere, Pe Rc, ee 


pe aie ale ~ é. -~ = 


Se ee ees Cem) S| > + 2 heer ee mba IR 


t a: : F 


ISG gaat th WY) ete tat seid’ duis. im 
“esi Pays ee: autqivo® . -tnemenx0 - 
~ afasavaom bin. aetitavoo saersttio otat bossa VI 


+S = e+ ies ee es 9one74, ery a 
esol ignated abasliedtall a bt 
Mes cavcl AnC teat tpalnderdia dt. LL Mae A a 
stveatbasoe + 
siiteavA .ynemieb 
visti 


* 
ee 


—_— =e ee 


bas (res3 twa b18 


w, ~=----+~-- = isacat04 bas ateq? ae 
_beqgor8 betife bas easlq Viesasuok § .8 ie aE a 
er te ee ee ee abntb lind A 
--- alettqeod .ersbx0 to esidesd .asizstescol a ( 
-~~--- saytostidsrs twelv9se otiszod 4D. | yaa 

_ wtitaoG .elf{ed ystto eguttiswb .2908isa eetteasD ~ : ee 
geittetevins) efoodoe a&ih .estdts to motte ty Ron oe 


ee ee ee ee ee + = = (2028LI09 20 


cy siateach .yasmie® .basfacl .eoand’ af esasaga0¥ 
sateq? bas vis¢t .abasfisdteli .basiaesdiwe bas 


ve 
“-=--- + gonsestensh edt to eqgtostidod 8 ai 
eftesd Iaxsqed 
uottelove (soitoteaih .1 
asisbgo01g [sotadoed dns medeye Isiudounte sie 
-fou1tancs toot .Rafaetesi{a ,anottetauiont alist 
-tov1danoo snob .83 fosy .esariies Aeurtesat aot 

SO em ee we) emt elite eo) ne By meee AOE” ws | 
mma ee = ~~ ~ + = Sr9mtgert Lerutoatinor4-IIT Vi 
-rudoetidors a$déo bas aaniaLoo ,aabsoe) to auz0% 


ble i ed 


— ~” ~ - -_ - Deal -~ eal - - - - - cl 


~~ 


-=--=--=-=+ gotsstoe5 bas sibsdetidoss [saresal 
evitsitoced .akatlicos .silew ,esoolt .eyswiised 


.fofsst099b asdoow ,emutqiuoe ([etasapno§) esis 


mf tere 


<tisvae .oo2s1t .R0ftateg (staomyaom .atatetat 


-- (tasueato .Bsyoastors .0199a0~sido ott 
-- ~ eee ete ee HH = BtOW Letutostinors 
eqstoes tdo1e domd9 A f 
rane La qistasaol .e1gtoa1tet9008 .enelg bavo1® ‘kar ot 
@ relaoo® 8 . 


> en, ee ee de 


Iii Decorative treatment -----+-=+=---++-+--- 
Ornament. Sculpture. Painting. Glass painting- - 
IV. Spread into different countries .nad monuments - - - 


Prance -----8s--=2#2e-++-+--+-+-+---e 
Netherlands -------+-++-+-+e+-+-- ee 
fnglend ----------+-4+- - ee ee eee 
Scandinevia ----- +--+ -- - ee ee ont 
Germany, Austria and Switzerland - - - - - - ar 
Italy -------+-+- $a. acing w haga i a aca 
} Spain and Portugal - -------+--- =! ee 
at B. Monastery plans and allied srouped 
buildings -------+- +--+ ---+ +--+ ms: ale 
Monasteries. Gastles of Orders. Hospitals - - - 
CC. Gothic secular architecture - - - - = 


Castles, palaces, dwellings, city halls. Portif- 
ications of cities. High schools (universities 
or colleges) ------------+---+-+-- 

Monuments in France, England, Germany, Austria 
and Switzerland, Netherlands, fFtaly and Spain- 


III. Architecture of the Renaissance - ---+--+-+-+--- 
General-basts -- ---- +--+ = = = = = = Se 
I. Historical evolution ------+-+-+e4+-+-+-e+4+- 


II. Structural system and technical procedures - - - - 
Walls, inerustations, plastering, roof construct- 
ion, internal ceilings, vaults, dome construct- 


TORO S.-H eke oe) eel eee = = “cf e = 
tii-Architectural treatment -------+-+-+----- 
Forms of facades, columns and other architectur- 

al members (=.= sse9+ MOST Ta Lees be ae eee 

IV. Internal architecture and decoration ------- 


Séairweys, floors, walls, ceilings. Decorative 
arts (flonumental sculpture, wooden decoration, 
intarsia, monumental painting, fresco, ssraff- 
ito, chia-oscure, srotesques, ornament) <- - - 

V. Architectural works --------+-+-+-+-- --- 
A. Church architecture -----+--+--- 

Ground plans. Superstructure. Monastery plans--- 

B, Secular architecture ------+--- 


te ie a 
oe Oe Se ) eat | eit 5A pares 
[stiaeot . ay gia rie i a eai8 me 
‘palo yeaa Lastbgod. -elied god | es 
wpe set tet nm +09 enotseotlitio§ foe 
- rt eee so Btaegtwaom jaatiogai sso .TV 
--=- 2 =~ «=~, 90neesieneh ylisd 
7 4 oor Soe e. —BOgssetaneh dail 
-=--=- + © - ~epnsaaisaeh etsd 
~109. bas aiege? at sonsesisas® sat Yo siusostidosA «8 
De mmm tit mye ew ee & Lebod 
aS = - + oiyte edt to etesd [sotaotatd bas Lexsa09 
vias Outlet, elyta. .olyse samod-00019 .ooasgetsl4 
tr tt mitt oop, sonsastaned dai 
(tet rt edaess008 snedtogwi, to} 
-- - = 90nett. at soneagetsash ods to sagtoesidows =. 
al haa ---- osiyte bos noitulove [sotroterh .1 
_ -Hosq tied? bas sonseatcuef adsl bas daid ,ylrsi 
etree ee ee ew ~~ ~ (olyte ni gettixsil 
 wahatilewb. ystO .elled ysiS .sedowd® .evsated® | 
eet ee ee + + Hedogmenom sastiogmi Seow WIT oe 
mee en te eee HH + = COKBBBtSASA yiasd 
meee ee te ee eee sonseetsash dari 
we tte eee “se -e ee + sausestenok ‘stad 
“sagoo asaxe® ae Sfidesctaht nl sds to sistoetidors Ss 


allel ee Rart 


P 
- -----+--~+-~-- slyse bas atesd [stome9 .T 
| eeec8 .aelqoeg atedz10n sad to anoftqesnos oA 
_.eisdoesidors -olyse sat to noitslove ot sot 
—-,adson (sistoetifots .tac08019 .noitsr009G 

. ytto .egar{iewb ,egsstsiS to sefttasrivosd 


_ ESOP a aay ete eseuod 
| dowade tastasto1d .sratossidars doindo offodssd 


- = - meee eee He ee eH CttoSstidors ) 
git bas esixtquoo taer9tiib odd at noituiova .IT . 


* 
\ ; 
Saar. 2. Se ee ee & & Hie BSAC EOS 
Li 


cee ane = a ie = + Sot -ebealredeel 52 
RS 2 bre he thy erent 


At ~-~-- sotetan at Ropeeatepelty 


4 

: Ad ; ie ; , 
hia oT. ' o . J a 

A “i ek 0 ree ie 


5 
Ghateaus. Palaces. Villas. Dwellings. Gity architecture. 
Sity halis. Universities. bibraries. Hospitals. Mar- 
ket halls. Roggias. Fountains. Yonuments. Theatres. 
Fortifications - ---+r--+--=- - 2 er-- + - | 
VI. Most important monuments - -------+--+-+-- 
Barly Renaissance -----=--++-+-+-+-+-e+-e ~ 
High Renaissance- ------2f +7 ee - ee ee 
Late Renaissance- -------f-e--+--+-+-+-- ~ 
2. Architecture of the Renaissance in Spain and Por- 
tugal ----2f - ee eer he ee er Ke er er He He ee 
General and historical basis of the style - - - 
Plategesco. Greco-Roman style. Style wuelino. 
High Reraissance (— p< wom i mm ee - = 
Most important monuments --------+-+-- 
3. Architecture of the Renaissance in France - - - - 
I. Historical evolution and style ----+-+--- 
Early, bigh and late Renaissance and their pecu- 
liarities in style -------+-+-+-+e+--4 
Chateaus. Ghurches. City halis. City dwellings- 
Ii. Most important monupents- ------+--+--- 
Barly Renaissance ---- ---\2*--+-+-+-+-+6 
High Renaissence- -------+-+-*+-+----+e 
bate Renaissance- ------\-\-2+--+-+-+-6 
4, Architecture of the Renaissance in German count- 
eT eet Rat koe eMart ta Ie ems a ar wh ie eee 
I. General basis and style ------+--+-++e-6- 
Art conceptions of the northern peoples. Bases 
for the evolution of the style. Architecture. 
Becoration. Ornament. Architectural works. 
Peculiarities of Ghateaus, dwellings, city 
BQOUSES eee an me ie oe ore ee ee 
Catholic church architecture. Protestant church 
SPCHLVeCUUPE oe Se me a me oe eel ae oe 
\/ II. Evolution in the different countries and the 
ROHGRER ES re rr ee a ae ecm en eee 
1. Netherlands ---- 7c - 7-7 -e e-- e-- = - 
General- ---- - eer er ee er mr wm te te ee 
Renaissance in Belsium - -------+-++-+- 
Renaissance in Holland - -------+---- 


) alsteo Abeainag A sontortansy 
o¥ .sottourseno9 enos2 .tasmtsort siyse 
oo nya sod ,soktouatenoo as yw, 
SEES Thien ; Li 
na eet <¥aem@T99 ak etaomanom tassrogmt teow .a_ 
rere Ha ci ee) peeieansiat, ee 
got tr tt = eee 8 
ry — a elvte fas siued [soitoteid bassferened 
Saint Petey? ee EN Bet itthrtey | Tast2oqai teok sed 
Ugh ikea Mout pict Gene Ramet nebsue ,$ 
i : eat. elyte bas etesd isottoteid bas {s1en92 , / 
5 ah aah: eet aboried sasV 19¢9i bas wsiised bia 
a ee me BS -- "~~ = 7)\7 ,. etcemunon sastiogme seoy 
ET eae eee Tree a 
) mae er --- Lsteie bas aoivofove {sorvoteia A 


, 


Rk Aes 5 + 7 7 7 - -pomsaziaasd gid bas ylsai 
" a Shenre [77 7 tT ot  etaeegoon Saatroqai teow .8 
., 


ins 
m, \ 


pot 


Ny, 
akes' aw 
may’ a : : 
: er salt 
i rpig Sages igs ws . 
RRS Shite "EL, | 
phot ” ett i ‘ ‘ ‘ ; ’ 
At ee a ee es wa wee Taran. 
Oe Wee the Pe er ee, ashe pa , ; . 
es Lagat re 
a: ae par ty he 
if he ” oe bene ‘seas 12 d + ay } ‘ 
Volibbesiugin Gaulle Ge Mc ie ee a at, me 
Some Sil ae war Pkav age vay gt bs 
iba i ee ae Ee ee 
Let os Way be (Pate by tn8 


a 


7 AS 7 om: 


‘oy i si ry 3) oo he p A) F 
ry o eke : his aA Wie Nel, RAS a ® v . 3 © ae 


. Pint aD yoru hess eK gt ee. Pie Hay, oe oar 
a Sy se Nanak aioe bade harkens 
2 hy ‘ c 
mM. 


y's 


Be 
A. 


B, 


RB, 


6 


Germany, Austria and Switzerland - ----- 
Historical basis, evolution and style - - - 
Renaissance in southern and middle Germany. 

Style treatment. Stone construction. Wood- 
en construction. bos censtruction. Half 
timber construction - ------+--+-+6 
Most important monuments in Germany, Austria 
and Switzerland ------+--- oe ae 

Denmerk ------- ee ee er ee ee eee 

Generaleand historical basis and style - - - 

Most important monuments ---------+¢ 

SWSC Ge SR ree te Shihan ee 

General and historical basis and style - - - 

Barlier and later Vasa periods ------- 

Most important monuments -----=-++-+--s 

Bngland ---------+---+------e- 
Historical evolution and style --- —= = 
Early and high Resaissance - - + = - ==> 
Host important monuments -<-<-----<+-. 


y 
mle are ' QAUTORPTHORA! syRDEMAMOR <7: . 
K yeas” atest (sofmoterd bas is1en3) .D | 
P ete te mtd Yo bobavot oxtame We itnen® of? Stel ontsmel4esdD 
© SSeBedour-etd tu4  Lerwtowate ofdevomwt bus beatot [fen = dtasb 
edt .sigted est Ys si stetatem OF AQ00K9 Brorte ton oreW 210 
~'- Bew sifons edt doin nt .strams sat to notervib steasd¢xotan 
‘s oF bel .yitmst L[syor off So ysteqorg stevisa odd as bassend 
“tb To taomestas baids ois OT .2etbtqua Tanretat teesse1n ont 
i enstioqgat .uoitsisqee edt beesso doidw (68) aubrev ss aateaty 
f selaceq gatdseqe asm7e9 sit to .Slxow edt to eiosetd sat ai 
~bso9b eldsiseia to boiveg s bebssooue sieds .enewoH sdt wort 
-toetorg Juodiiw taomis exow ebasl detines9 edd dotdw ai ,eone 
staf s as beowommoo si ol .eetmene) astexot of ya1q 3s bas nok 
=smewon [xtrowoo sdt encitsa edt to anetserzin edd to toodaetto 
“10H dhid sdt to aomese biog add .(ebotdt¥) enero’ sag to ata, 
-ieiv .etod ofaswied'svisiminag afeds .Aivanibaeok sort ow ae 
~ gent .yreddor bae sasvse1 dsviw saoxsea to abael aenoo sac had 
basfgaa bstewpaoo . (SI) (vbasmroll) sonax® oi vlomid toot gos 
s bebasol ituo® sastetb ef? at move vyOfeuit bas .(090t) rese8f 
bas yisdt sewol af wobkard bibaslde tue bovil=seode vyinisiaisa 
“sat vd .teo8 ettsne edt aevo bo1atseoe somedt .(O8LD) elite 
oad at .esimens (soretxs dttw efsetnoo bus asotanseerbd Lente 
“788 ent dtiw dtao! sat uf .e1edto acoms etayheM odd. dtiv tase 
-Gngtse Osdeintmibas dvtw bsdsee900%q won so84 TAS, Sit 40698 
<ensidene bas emoxs® .einert edt .esoa7 taetyista afed® .ae 
~nivolis® edt to siclist oft x9s%te bos ,aedtoxor yinxit bevedbs 
a to esisse s wobantd deidaas® wreteas sag oF eves evied saath 
etoms bas bettas stew ao9s2 asmisg (fs: produ itsbay. ,adorsnaom 
%60n0 2280 sdt toa esw es doon (ee@enavotoeaoo [anciten 8 og 
te “eaian® agmo8 ylow” eat to gatbavot eds! atte -ongemelisdd 
‘hetaey won s ,{S880 se9¢ sit ac) I ot¥d vd “notte named ont 
Aa | «8986 efbbiw nsais8 edd to ted¢ .seoW ode tot as2od 
bad stigmas daiknstt odd to asoutvotg wieseew edd nedt Cita” 
Me “.yttvidos Ofdettie bas [s0idifoa to baxorasdot edt at boota 
@s .yasu1eB of ,edas87¥ atetess edd oF Soeuaa slow aids won a08 
bentesdo stese\ vor eg? .bemsn sss0teonsdd aw extdue wou edt 
“ybaenls. sebt edt 60 bedae1 tsdt ,meifebyet yd atesd aswt est 
_autottinoes: id amma to .eTiqms detiaar® of¢ at beqoleveb 


: 
T. ROMANESQUE ARCHITECTURE. 
=. General and historical basis. 
Charlemagne left the Frankish empire founded by him at his 
death a well joined and immovable structure. But his success- 
ors were not strong enough to maintain it at its height. The 
unfortunate division of the empire, in which the empire was 
treated as the private property of the royal family, led to t 
the greatest internal ruptures. To the third agreement of di- 
vision at Verdun (843), which caused the separation, important 
in the history of the world, of the German speaking peoples 
from the Romans, there succeeded a period of miserable decad- 
ence, in which the Frankish lands were almost without protect- 
ion and a prey to foreign enemies. In it commenced as a late 
offshoot of the migrations of the nations the powerful moweme- 
nts of the Normans (Vikings), the bold seamen of the high Nor- 
th, who from Scandinavia, their primitive Germanic home, visi- 
ted the coast lands of Burope with ravage and robbery, then 
set foot firmly in France (Normandy) (912), conauered England 
later (1066), and finally even in the distant South founded a 
certainly short-lived but splendid kingdom in lower Italy and 
Sicily (1180). Thence scattered over the entkre West, by int- 
ernal dissensions and contests with external enemies, in the 
Bast with the Magyars among others, in the South with the Sar- 
acéns, the german race now proceeded with undiminished streng- 
th. Their mightiest races, the Franks, Saxons and Swabians, 
adhered firmly together, and after the failure of the Carlovin- 
sian heirs gave to the eastern Frankish kingdom a series of m 
monarchs, under whom& all German races were united and awoke 
to a national consciousness, such aS was not the case under 
Charlemagne. With the founding of the “Holy Roman Empire”: of 
the German Nation” by Otto I (in the year 962), a new period 
begen for the West, that of the German middle ages. 

Until then the western provinces of the Frankish empire had 
stood in the foreground of political and artistic activity. 
But now this role passed to the eastern Franks, to Germany, as 
the new embire was thenceforth named. The new state obtained 
its true basis by feudelism, that rested on the idea already 
developed in the Frankish empire, of a mutuadiand sacrificing 


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lofee h tof ettoiten namie edt od teil 

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8 
truth retained until death. An idealism produced this state 
system, and which never before nor afterwards had its like, & 
and that in combination with the deep religious inspiration 
gave to the middle ages their peculiar stamp. Its most visible 
expression was found in knighthood and the ecclesiastical hier- 
archy. Then commenced a period of high importance to the his- 
tory of the world and of civilization, which brought to the & 
German empire its period of splendor under the Saxon, Frankish 
and Hohenstaufen emperors, to the German nations #heiélimax of 
their power and their heroism. 

Tris period elso then found an expression in the architectu- 
re, which is to be counted with the highest works of the human 
intellect. Phere srose that national style of architecture of 
the North, later designated by the name of “Romanesque style”, 
indeed because it came from the time in which the German intel- 
lectual life received its basal impulses from Roman ciwilizat- 
ion, and since it was directly connected to the Roman antique, 
fostered and revived by Gharlemagne. But this appellation is 
so far insufficient, since even if many of its forms are pre- 
figured in Roman art and that of the farthest Christian Hast, 
the Romanesque style did not have its native place in Roman c 
countries, but where the German nation possessed superiority, 
in Normandy, Burgundy end Lombardy, and in its richest bloom 
in the entirely Germanic Germany. It would therefore be bett- 
er termed the “Germanic style”. Bor it is the german individ- 
uality, that appears in all its forms. The inclination pecu- 
liar to the german nations for the expression of racial pecu- 
lierities, for subdivision into regions and families, which in 
general were closed to the external world and permitted a com- 
fortable separate life, the unusual dissensions manifested in 
even the smallest matters, that were only restrained by the a 
all powerful idea of Christianity and the strong hierarchical - 
conception of life in the period, -- these basal tendencies of 
the Germanic and chiefly of the German national character find 
a speaking reflection in the Romanesque style, and indeed in 
its separate solution not only by races but also by countries, 
in the expressed avoidance of all similar treatment of details, 
in the infinite variety of architecturalpand ornamental forms, 


ww soeesa ui: ts ibtarhitins edt nk qifentt bes 

) odd wod. .<Mfetedd dent ifs avods bsosla sebt [soit 

bas aenog ab Sasteduxe .eetevibh oe aetto .arsdmem 

Rasen ai esti ,slodw evotmomied bas atolqmos s at ssinw .bo 

a isow [e1utosdtdors suvpsemam0h of tsifnoed ynomied tedt t78q 

aesosieio 8 ove asvisoer sti fuaokesy asu1e8 edd dofaw yd 

Ma Ales gis ~Noteastaxe of 

pe stel sas sifsae sdt eege efhhtmw edt to eonertas edt asi: 

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a 8s Subdiow rot .aieredt tesnesni as bed ax9h410 ets1sase’ sas to | 

hg -~essm odt al .arsdto1d ysl to aled sat dtiw atattxs anteuooxe 

‘a Seid to sotvree ods ai booelq oals s19w etre odd dofdw atiems | 

| ‘oeylettes tot asteto satdetasolt yfsnorse edt to bas Wwtitftdon § 

“eso1ont "B toot osfis tnemeis yal sdz .etnamsiivost isivose oat 

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sf - oF bezoqo1 doidw .aav0o Istisqmt eds agw st qifeni® abate 

A -elqaoo os medt sdauvoad bas ems Ldorg Jashasr12 sdt exntostirdorws 

eee edd asve eed? .ensem est atiw bas basmmco att ts aort yy. 
| 9dt déiw dDstosnnom vew esks albdim suceenemoR eit to savtoet | 

ae enn mee Cope ati edat seodw diiw .ertqme edt to tobastae 


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and finally in the combination of the masses by the ecclesias- 
tical idea placed above all. Just therein, how the different | 
members, often so diverse, exuberant in power and unrestrain- 
ed, unite in a complete and harmonious whole, lies in great p 
part that harmony peculiar to Romanesque architecturel works, 
by which the German national life receives such a characteris- 
ic expression. 

With the entrance of the middle ages the entire art life of 
the West assumed an unexpected upward course. To architecture 
fell the part of leader. It was developed on the structures 
for religious worship. The bishops’ seats and the monasteries 
became not only the most important locations of Christian civ- 
ilization, but also flourishing homes of the arts, whose fost- 
ering lay first in the hands of the clergy and chiefly in tho- 
se of the monks, who already on account of the different needs 
of the separate orders had an interest therein, for working as 
executing artists with the help of lay brothers. In the mneas- 
ure in which the arts were also placed in the service of the 
“ nobilityd and of the strongly flourishing cities for satisfy- 
ing secular requirements, the lay element elso took an increas- 
ing part in the mastery of the numerous architectural underta- 
kings. Finally it was the imperial court, which proposed to 
architecture the grandest problems and brousht them to comple- 
tion at its command and with its means. Thus even the archi- 
tecture of the Romanesque middle ages was connected with the 
splendor of the empire, with whose fate its flourshing and pr- 
osperity were most closely connected. 


TI. Evolution of Romanesaue architecture. 

The Romanesque style was not originated by a definite race 
of the German people or in a definite country: it was rather 
developed in various and far separated worksxapproximately con- 
temporary and in an entirely independent manner. The reaction 
or the Roman antiaque cannot be mistaken. It expresses itself 
first in the elevated conception of art tausht by the Romans, 
in the mighty impulse, which that Save in regard to the empl- 
oyment of columnar architecture, in the technics of vaulting 
and in the entore treatment of the interior. To a Roman or 


7 ¢ ra t : 0 
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Phy. Sh pit ee : 
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aed edt .siedoetidors doisde supaeqsmod to antolind 
eaitas off SowollLot ad ysm gasmgoleveh redtawt esi 
»?%3 Supesaam0g 

atti at Ssaeaiteiq yosaxts esw wititiwed sdt to etasd ed? 
ef empfoY eee) boiveq asigatvolssD edt ai adtea taasroams 
bose elats sersveasis .eved efit to tnomegasais odt :( QSL 
ia raem 8 to aofdibbs odd dtiw eeattemoe .ego1o antted « to mot at 
| - notetvie® .atqyio edd tot exbodo edt to acitavels .1fodo nisd 
) tomotéelisteaxt odd .asieis sbte bas sf{bbim ofai evan odt to 
| -ifteo bus alien {satbusignol end t10quse og sxeta bas eamaloo 
© od? (2.888) egaibiivd eds at er9ewot edt to aotesLloni eka 
eisveo .seqs odd Snftvagoxe .1cfasdiai eft Yo Satsevon L[eatstat 
-oms2zi aeqo sdd yd bedatiqnooos eyswis asw .smob tisd s yd 69 
BeSivib gailies asbhoow isinexiiod a yd 40 ,to01 sid to dxow 
*‘bottea suoeensmof adi at estwedid .eistios 10 aleneq otad 
|  (98ve n6 at oaf{e ti neve .Rafisvoo Yo ebom atdt o¢ beradbs asa 
- -detsb [isme esi ted .(S 1828) ..(S .a28) .9eq80h botimiL stom 
_ wbae-cdt of yliee etinp bel eatt ed aottoustesd yeso baw vtili 
1) =e) to sogsiasvos Jssiavedd asotlieed oft 10t satiits o¢ roves 
i aisbom taslieoxs titel bsd easmoh edd dotdw sot .ebodtem gaiain 
| ~emet iitte seSsiq yasm of dotdw ,etxow [avusoetidors tiedd at 
~d¢ LL edt to sexo odt at asked nom stotered? oidreiv beak 
atedsuos af Qattivey ¢s etquodds betsioet wort shtes) yrarneo 
+ Bafatenet tud .visdaeo dt OL edd ai Sat{ist vbssrls .eoas1h 
* Dakine Case to aaittissv sds détw (taemqoleveb asdsaut tuodtin 
4 ‘edt to Sattlosy edd o¢ Sareesq nooe \,eedorsdio dmody bas eloq — 
 =Leatt wastisi{sg bas esiats ebte edt af Jexit ,eado1sdo sdtsl 
a -sis olobtm eit ai oals ,ydtisose Lsagsouase antonsvbs atin vi 
-tidows: Lsvesibemotat saluqat as beosboutat aaw ydsasd? .ael 
i edt “sstutostidows to yiosetd edd af sonsdroqmi datd to s1ctos 
Re riiidecstares edt betostis yilutrswoq aesiuav to aoisouisenos 
> gotatvibdue ods .aamsloo bas atta to taemtse1t odd .aaia odd 
fo xbod evttne ed? .esbsost to aaifbasd edd bas .siisw add to 
| oe pene tite otut beqoleveb ean stutonxite ond 
Byrds mi tyne). BMeatéivak etslqmoo bas stedmom esi 

net shaper at rotsasn4 edd to aoitse19 erisae eds oonta. 
dt soeemiien ie Rais Ivey to shoes. wdtsa0 taebusqeb ase arct 


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19 
Roman-Early-CGhristian basal form also returned the principal 
buildings of Romanesque church architecture, the basilica. In 
its further development may be followed the entire course of 
Bomenesaue art. 

The basis of the basilica was already prefisured in its most 
important parts in the Garlovingian period (see Volume 1, page 
179); the arrangement of the nave, transverse aisle and choir 
in form of a batin cross, sometimes with the addition of a wes- 
tern choir, elevation of the choirs for the crypts, division 
ef the nave into middle and side aisles, the installation of 
columns and piers to support the longitudinal walls and ceili- 
ngs, inclusion of the towers in the building. (Pig. 1). The 
internal covering of the interior, excepting the apse, cover- 
ed by a half dome, was always accomplished by the open frame- 
work of the roof, or by a@ horizontal wooden ceiling divided 
into panels or coffers. Likewise in the Romanesaue period 
men adhered to this mode of covering, even if also in an ever 
more limited degree. (Fis. 2). (Pig. 8). But its small durab- 
ility and easy destruction by fre led quite early to the end- 
eavor to utilize for the basilicas the great advantages of va- 
ulting methods, for which the Romans had left excellent models 
in their architectural works, which in many places still rema- 
ined visible. Therefore men began in the course of the i1 th 
century (aside from isolated attempts at vaulting in southern 
France, already falling in the 10 th century, but remaining 
without further development) with the vaulting of smaller cha- 
pels and tomb churches, soon passing to the vaulting of the 
large churches, first in the side aisles and salieries, final- 
ly with advancing structural security, also in the middle ais- 
les. Thereby was introduced an impulse into mediaeval archit- 
ecture of high importance in the history of architecture. The 
construction of vaults powerfully affected the development of 
the plan, the treatment of piers and columns, the subdivision 
of the walls, and the handling of facades. The entire body of 
the structure was developed into an organism consistent in all: 
its members and complete in itself. 

Since the entire creation of the interior in ground plan and 
form was dependent on the mode of vaulting, to this was then 


teoda yeah ,Fosttaenis ens aleteinkes {Lut sd¢ bstove 
dt sv ae sv pen vd aelets edt Satameqe wort bedfuvees avidwl 
Sido eaw tI .etetq edt Qattosanos ea aedows serevedsets 
Ee xeboseivons asuo8 auotemun siedw .eonst atedtuoe af aom 
zz 916 stedT .noitoursenos to sbhom ait sididxs [Live etnoms 
) ! ©) -egatblied Ls1t09: bas aedowio bemob bessloeitbanet o¢ 
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bed easmol ed? .etiuev eeo19 Yo aottonborsai edt ese atuotoett 
+ “01 Betednofe duirsvoo rot esaesasvbe aieds besiago00e1 ybsstle 
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bi ‘baec01g oels divoa vent stadt ,Moftouritenos to ysiasoea ab s8t 
i edd 6&6 (3 .2f9) etlusv Loanst ddiw emoo1 w6loxastos1 teveo o¢ 
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| 4  syaowied gostieq s Ssiftwpos asia bavor edt bas .siere elbbia 
' Kxewile dt astsotbat ybserls ovis sonsvbs aids tad .(8 .Bth) 
} atiae wet of teasl ta .t1e saceenemod to stagmqoleveb sat to 
> -eaottietopos [eotadses eff 10% .mottesup at si vtirsa aivre 
eid Buenos .usteye bedotitess sad moat mobes1l biswod beaasig 
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% nsqsiar at seis odd dotdw at .dows to mol a a0t dowee oft al 
eal ;asae sev ativev stwoene blyoo eno Jedt of .asae sdt to gash” 
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fo. aid qisdaeo dé SL eds Yo tisd terbteds at ybserls (sonsy% 
ato ows to anil Quiaivsy eds anteogmo Yo sedi ivisivat odd 
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bas sasmyolqws edi worl .esdostidois Levesibem osai 


14- 
devoted the full attention of the architect. The simplest so- 
lution resulted from spanning the aisles by tunnel vaults with 
transverse arches as connecting the piers. It was chiefly con- 
mon in southern France, where numerous Roman architectural mon- 
uments still exhibit this mode of construction. There are ai- 
so foundiisolated domed churches and central buildings. 

But of infinitely higher importance for western church arch- 
itecture was the introduction of cross vaults. The Romans had 
already recognized their advantages for coverings elongated ro- 
oms (see volume 1, page 105), and extensively employed them in 
their great designs for the baths. But the architects of the 
middle ages brought them to their highest perfection. In the 
first period men ventured only to construct round arched cross 
vaults, resulting from the intersection of two tunnel vaults 
of equal width and height.(See volume 1, Fig. 123). Thereby 
men were restricted to square bays in the arrangement of the 
ground plan, into which must be subdivided both the middle and 
transverse aisles, as well as the side aisles. To the latter 
was assigned half the width of the middle aisle, so that each 
two bays of the side aisles equaled one bay of the middle ais- 
le. Thus originated the restricted Romanesaune architectural 
system. (Fis. 4). Only after the architects had progressed so 
far in security of construction, that they could also. proceed 
to cover rectangular rooms with tunnel vaults (Bis. 5) did the 
side aisles receive the same number of vaulting bays as the m 
middle aisle, and the ground plan acquired a perfect harmony. 
(Fis. 6). But this advance also slready indicates the climax 
of the development of Romanesque art, at least so far as its 
style purity is in question. for the technical acquisitions 
pressed toward freedom from the restricted system, toward the 
abandonment of the round arch and its restraining consequences. 
In the search for a form of arch, in which the rise is indepen- 


, dent of the span, so that one could execute vaults over spans 


of different widths with equal heights, men in Picardy (north 
France) already in the first half of the 12 th century bit on. 
the fruitful idea of composing the vaulting line of two cirecu- 
lar arcs. Thereby was the pointed arch (Fis. 5) introduced i 
into mediaeval architecture. From its employment and the str- 


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988 ofbbim evpssasmoh sit to ysivitos Ise siétns edt 


bidettatt s ai besbat .ytutaso dt Of oft to slbbim sds of 
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edt 9%s ebotisaq esidt .,softelove to saxnos edt of braast Ati¥ 
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asian Re PO OOLL o¢ OOOL mot? botvea ylase edt .7 
yeas bas ¥V8e0 ,aoisoursenoa bet{vev to Baiantked .assrlbead 
pfs o(emgo2 baaole 
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a -(emrot bas atsdmem grsaaio bas sistas 19% 
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OR exatanibed etl .moisulove svieasizo1g easltae1 2 at 


dite ybssils bsba9 botasg supasaswod sds sone19 to esoaivorg | 


_ bas. sottours agave to sitaleneedten Sit omits omse sds ts yasarsh of - 


12 
structural and formal results originated a new structural sys- 
tem:- the Romanesque style passed into the Gothic. 

The entire art activity of the Romanesque middle ages ended 
in a restless progressive evolution. Its beSinnings so back 
to the middle of the 10 th century, indeed in a limited sense 
even to the days of the Garlovingians. But in general. for the 
Romanesaue style in its formal development the year 1000 is to 
be regarded as the lower limit. A century later it also alre- 
ady attained its climax and after scarcely another century it 
also reached the last phase, that of the transition style. W 
With regard to the course of evolution, three periods are the- 
refore to be distinguished. 

I. he early period from 1000 to 1100 (horizontally covered 
basilicas, beginnings of vaulted construction, heavy and undev- 
eloped fomms). 

TI. The best period from 1100 to 1180 (horizontal ceilings 
replaced by vaulting, technically secure treatment of the tat- 
ter, mature and elegant members and forms). 

TII. The late period (transition style) from 1180 to 1250. 
(Strong rise and free treatment of vaults, Sraceful and richest 
development of forms. Appearance of new elements, particular- 
ly of the pointed arch and of the buttress system). 

Hor the limitation in dates of these periods the development 
of Romanesoue art in the heart of @ermany is chiefly consider- 
ed. Other countries did not keep pace equally. In certain p 
provinces of France the Romanesque period ended already with 
the endcof the first quarter of ,the 13 th century. Also even 
in Germany at the same time the elements of construction and 
form of the Gothic style there developed sradually found entr- 
ance, here till the middle of the 13 th century the basal char- 
acter of the architecturé remained still Romanesque in its en- 
tire course. The transition style denotes for Germany the la- 
st climax of its national character in the splendid time of t 
the Hohenstaufen emperors, freed from severe restraint. 

A, Romanesque Church Architecture. 
I, fhe sround plan. 

fhe plan and treatment of the Romanesque churches is so var- 

ied, that scarcely a single one bears all the characteristic 


éf 
ie Laecntpah ‘ko ystmiotten odd yd ekatbited teom [itte bad .exaem 
| bes ed ysu heebhat dofdu mort .etieqd avotnowisd svad seoarsd 
| “s7eB 10? suxt yineiootsxs9 ef etd? oaedos ([amton 8 bedatids 
_ -Ba00 bas yitselo dz0n asw “wotaye hesoiatesx” sat o19edw . vas 
in ) gatbiied dowsdo eds to m102 basoia sd? .bsgoleveb ylduetei 
) atedtvoe ai sqe0x8) .extliesd belets sexdt edd yd bouret et 
| ance ai bavot yigo sts esotifesd belais elaate ,consd4 
-{fq bagow oft af .(o487 ose beleia evil yesdo1sds yitavodahas 
) doee of ofts1 otiatish s diiw behasiie sis anotansmib [ie aa 
sosBigutetse etsuoe edd af tins aaivtR eesm A .(% .ak@) r9dto 
-8019 sit .eelets set9vensas boa slbbia sdt to aoitooesxstar edt 
, edt dtiw etsaps stodo sdt ei tase odd no si BatatotbA. .aata 
etsupe s Snted eabie déaom baa atgos edt ao .929e asivotcopaes: 
eetsupe isievea saow edt biswod bas .oleis sarevenssd ois 28 
mot doidu ,.(yasmte9 si. xte of serdd vilstaae2) baxttesa ot 
- Yo ddbiw edt tisd oviteos1 aslets-ebie sdf .elete slbbra sds 
~etq7senaty odd ofai tase od Ss asaqo vsedst islets slbbim ont 
edt ai eeags sdfe sciisme ows yd bogaelas eve slut 6 es dotde 
' asdoit al .eoleia shite edt Yo gioidsaimiss as Lisw atisogge 
=—e@9 tnd .bortreq espesnsmof tasd sdt at tusa ai gosouls .easig 
goisis ebie oft \botasq sapsensn0F otal edt at sommoo vilgtseq 
+ eBPY) .2zolets. xiodo es asqeensxt Sit baoved Seyattaos cele e413 
) seqsdo Seaas11e yileibss io 19edmva.s alatisdiso done1d a® .(% 
wo dfe19q dofdw .oleis afodo sat shietvo0 bodosdsa astto axs ef 
» 89 edd etemine yidsitemes bus sistis evorsana io acitosis ont 
) baa ettods eldvod (.(18f sasq .f empfov 904) .aoida0oqg n1982 
i at yasmi1eS at 10990 yltaegoe1t [lite ealats sexevaneis oLduob 
os eved ted (8 .a2%i) .botreq SedemeseteR odd to suid vyiase ods 
en owedt bose ,godousdo yiote2sn0n 10% vlao moideotitdagt sisuni as 
‘- ) mokenfoat od? .botweq otal edd at seeqgesit vilsubas® aisas 
| vesetoat diinm hatesit et gaibiiad sdé to seam sat at azewor to 
| 8% e%@nod ows 10 e00 Svieosr esdowds wsilemE .aottasdss ant 
: _» beasstoat af isémua edd eedorsdo watel tol :bo9 mietasw ond 
32 tied? .eatn of neve eseeso aietieo at bas .e10m 19 evil of 
© wB190s Got qisommoo geo .olux-ediatteb on awollot zatque 
bas 9bsost aissasw add wo ons ,ovea sit to asitns ods 36 ig990 
| dt meds ieleis seveveasts ‘ons wLedo aeented asltus edt ai ows 
u weds cgqate .@eldorg isoissse tastiogsi as svloe ye 
& | | 


— 


—_——— 


18 

marks. And still most buildings by the uniformity of their p 
purpose have harmonious traits, from which indeed may be est- 
ablished a normal scheme. This is perticuierly true for Germ- 
any, where the “restricted system” was most clearly and cons- 
istently developed. The ground form of the church building 

is formed by the three aisled basilica. (#xcept in southern 
Bhance, single aisled basilicas are only found in smaller city 


—andn¢ountry churches; five aisled are rare). In the ground pl- 


an all dimensions are arranged with a definite ratio to each 
other (Fis. 4). A mass Siving unit is the sauare arising from 
the intersection of the middle and transverse aisles, the cros- 
Sing. Adjoining it on the east is the choir square with the 
semicircular apse, on the south and north sides being a sauare 
as the transverse aisle, and toward the west several sauares 
are prefixed (Senerally three to six in Germany), which form 


>the middle aisle. The side aisles receive half the width of 


the middle aisle; they open at the east into the transepts, 
which as a rule are enlarged by two smaller side apses in the 
opposite wall as terminations of the side aisles. In richer 
plans, already in part in the best Romanesaue period, but es- 
pecially common in the late Romanesque period, the side aisles 
are also continued beyond the transepts as choir aisles. (Pig. 
7). On Brench cathedrals a number of radially arranged chape- 
ls are often attached outside the choir aisle, which permit t 
the erection of numerous altars and remarkably animate the ea- 
stern portion. (See volume 1, page 181). Double choirs and 
double transverse aisles still frequently occur in Germany in 
the early time of the Rewetesahes period, (Fis. 8), but have 
an innate justification only for monastery churches, and they 
again Sradually disappear in the late period. The inclusion 
of towers in the mass of the building is treated with increas- 
ing attention. Smaller churches receive one or two towers at 
the western end; for larger churches the number is increased 
to five or more, and in certain cases even to nine. Their gr- 
cuping follows no definite rule. Most commonly four towers 
occur at the ansles of the nave, two on the western facade and 
two in the angles between choir and transverse aisle; then tb- 
ey solve an important statical problem, since they chiefly op- 
p 


| $f 
mtb Lsmbbet tanos odd ab gaftoe etfosyv edd to seurad sds ez0age 
te) busta 10 segs edi dasli yitasnpest coals yeat ts¥ .aotsoes 
_ * emt To eslaas odd ss ovle eomitsmoa .aidss sdt to eebire ens 
| patmreseb vitasbiv’.. .(@ bas 3d ,86 (SL .aoi® 002) .etqsensas 
Di “6 od¢ esw aiswod edt To saomtsest bas Saousanea1s ots at svie 
to qofees1zqxes Snivit 5 tol bos sositte supaexusoig 10% Satviade 
“sosatesat edt t9v9 .ysinstsetadD to s2bf Bntaiaas axsvsod eda 
isaosyloa « eeet: yiisvew eolaie slbbim bas serzavensat Yo aot 
 -quelstetq gateeors edt .(Db .86 .@ .eat® 908) sreWOT anteszorD 
; ‘yfetet go =. gu0nte ylasivottisa visnornsenos sis th Rattrag 
ovat asuist at olets ee1evensid sxitas ent 10 hateaoto odt ole 
~s¢ wol yd beeoloas ef aids bas .(ytetydeerq) atedo beaiss sit 
ets tedel sdt at auop0 seosda iiedd.at .(iffeonoo): esbaitanl © 
/  ebaq ,f emulov 202) :atestaoneot sait¢nassv9 sit of avoxeteas) 
«fs elbhim eis biawot atoob vd neqo tens .eexrweofoms darn (88r 
~selisa sesdd a0: .estrefisy es betssxt vitasups1i es bas sle 
*edt Sae1 ssw .tiodo oft moit sriste autbaiw vd bedosor . got 
6dt .“usiaotool” to omsal sit bevisoet yads doiaw wort .eleqeok 
958)! tedt mort devine Bated (yxsllas boor) “ssasdeL" to mss 
TE : (88h .ar8 
+>) eds) adsoned doavdo ferwd s es: tayt9 sdt to somattogmi sa¥ 
“aeattet edt va .yretavo dtiSh snd ot¢nt Yosd esok szieds besiss 
| “mea odd yd bebavot efoodoa yairdblind bebaetxe yfobiw bas [soe 
“a eco antiad paeith eds va ons ybauguss af yasdO se 18h10 anitord 
Be basd teito sit mo) beeoade viewtias saw etit sidawe af wots 
‘ | asfete xtodo es eelets ebie sit to nottaunttnoo odt tf dtiw 
))) “Bia yTev Fertt te nevis svew awobstw oad of 1 (okuw edt smr0t 
DY) sidiesog ¢esel: edt alfew odt aovssw os asb10 ni Sanotenamid Li 
| Sbte odd at ott yon? .ediuev ent to seunns snorse ent tentsas 
Yo eiiew yrotersels odt at bas .2208 sd¢ at .ovem edt to aliew 
“pet smse) oct 10% .(fGf okeq . smyfoy 908) .efets eibbim oat 
| 88 \behasi1s crew vou? .fisme vinetdiate efadiog sit sxe woe 
ten edt ai .ssofitesdenentaatvolis) bas asivaixrdd yirad odt ao 
fo eefeats toetsttib odd ot esonsitue staisqse es sbsosi areta 
=t9d> ab ylistoodes bes osfs 10 .a1ewos sbhaost ond odd neoRted 
_ Si \esfets shta oft To eabta ont at eitodo sfduob dtiw aedo 
" © .8¥em odd Yo alisw atedtion 10 wieiswoe sd¢ at 10 .ataeenstt 
¥ _ bettino et sedousd> asiteiaS ylish edd to wotats okie sa? 


— 


14 
oppose the thrust of the vaults acting in the longitudinal di- 
rection. Yet they also frequently flank the apse or stand at 
the sides of the Sable, sometimes also at the angles of the 
transepts. (See Pigs. 17, 36, 45 and 9). Evidently determina- 
tive in the arrensgement and treatment of the towers was the s 
striving for picturesoue effect and for a living expression of 
the heaven aspiring idea of Christianity. Over the intersect 
ion of transverse and middle aisles usually rises a polygonal 
crossing tower. (See Figs. 9, 36, 44). The crossing piers sup- 
porting it are consequently particularly strong. Not rarely 
also the crossing or the entire transverse aisle is taken into 
the raised choir (presbytery), and this is enclosed by low ba- 
2 lustrades (concelli). In their pbaces occur in the leter time 
(analagous to the Byzantine iconostesis; see volume 1, page 
188) high enclosures, that open by doors toward the middle ai- 
sle and are freauently treated as galleries. On these sgaller- 
ies, reached by winding stairs from the choir, was read the 
gospels, from which they received the name of “lectorium”, the 
name of “lettner” (rood gallery) being derived from that. (See 
Fig. 162). 

The importance of the crypt as a burial church beneath the 
raised choir goes back into the 12 th century. By the influen- 
tial and widely extended building schools founded by the Bene- 
Gictine Order at Cluny in Burgundy and by the Hirsau congrega- 
tion in Swabie, this was entirely opposed (on the other hand 
with it the continuation of the side aisles as choir aisles 
forms the rule). To the windows were siven at first very sma- 
11 dimensions, in order to weaken the walls the least possible 
against the strons thrust of the vauits. They lie in the side 
walls of the nave, in the apse, and in the clearstory walls of 
the middle aisle. (See volume 1, page 151). For the same rea- 
son are the portals strikingly small. They were arranged, as 
on the Barly Christian and Carlovinginan bastbhiees, in the we- 
stern facade as separate entrances to the different aisles or 
between the two facade towers, or also and especially in chur- 
ches with double choirs in the sides of the side aisles, the 
transepts, or in the soutbern or northern walls of the nave. 

The large atrium of the Barly Christian churches is omitted 


ae | ae, sh, 


+. 
9a ibid batbtwbuts bods: aoqo Liewe s es aatemss (8b seq 
ais ais to débiw siistne edd of bexttera 10 ar9WOs axetaow 
we sv ylod edt .asvtk esw “setbaraa” to omsa sat fotdw of 
© aeitosifooe1 s alisoor somsatae ont ts ti ntdtiw beosla ate 
_ paedaampen -(@bL epsq .f omsLov 038) .eursdéaso rewi0t ofa 
Phetaiahte bebbe sas dotdw ot .azetle dgtd ens to aottsool saP . 
4 vane raceane ody Ous sibsdsso ene .e9e0s shite rasif{eme oat at e186 
bas ya1elo edd 10% rottstat sds to aoteivib sag ,essetsq ant 
S ehdbaattetan0 yitea |dd ai nevta febom edt wollot -elqosq sat 
88m e08qe tnstottive sont? .(C2f eaeq .f omolov 902) .sorfi 
odd yd bearelas Yistydesiq sit ai yatelo edd to babumoo adit ts 
a -itas edt yd aomisemoe oele bas .Salaaory sds bas sasups riodo 
Tt odd mort asdet olate ae od Slwoo eteds .oleis serevenets 64 
enh ei: -9vsa 3d3 ai asbsiveulsd yd siveaofons zsit0} 
> weds}. oxed bediicasb meseya dowsdo Laaibssianel siz esbitasd 
S -shabbliad doxredo supasaemoS anoms ensia [ertaso 18990 fey 64 
a ‘dtgoe bas ylss1) estutagos arsdéuoe at sommes sxom sia aced® 
_ waqedo lemeitasd as ylteids betoeta .dtsom ott at osds (aoner¥ 
et To asdowsds es ,aedosgdo afam 903 edteod (eotreteisaed) af 
) =0d en0d boliso-oz) dob edt 10% gisasds as 20 ,otdoluae? yok 
” ~doe isigass odt ao boeed eadorudo detied .estustemeo at (ase 
is: ~tdasq edt yd bentslaxe o18 aodd bas buvoli visis1t s10m 918 99 
\ i  eogeg bas esiisavoo edd to enoiseiert bas agoté¢ibaoo tsluo 
De ohepsut ai. .b9e199909 
eS a emfourte otf .S 
at Cinkktvans ssw ddaied af sedousde edd to gasaqoleveb odf | 
ite akddin yloitsas ilite botveq oupasaemef edt to awit viase ode 
gex. vesotiiasd asiteradS-onptias wol eyewie edt to adimil ods 
Pas) (pesot09: 03 miked enotenomth edd aesthora yodtaet adi ai 
Ms 7028 oft ai toods) uoteye hototasec1 edt Yo botasa gasd odd at 
Slats elbbi odt to ddkied oft .(viwtaeo da GL od¢ Yo ied bno 
d o04 soiws beaisiss ylisxene2 ativay edt Yo aataatacae add of 
© cotesve gate20r0 odd to sbie odd eotws gated eadd ,deda0exd 


oe wefleatt sbsa ster siuesen eidt baoyed tet acoasvbs s99 


emert eidieiv.¢gino es anol of .gailies dt 26 sata 
etaaeo otah omeo aaatfie. asdeow Ladaosixod to toot 


re Se eal ie oP bitveaees tuodsiw teomis 


oat yd benimaesed yiisttmeaee at tleati stutourta 


an 
te 


*j ~ 
“AS 


15 | 

almost without exception. The former portico (see volume 1, 
page 176) remains as a small open room inserted between the 
western towers or prefixed to the entire width of the facade, 
to which the name of *paradise” was given. The holy water ba- 
Sin placed within it at the entsance recalls a recollection of 
the former cantharus. (See volume 1, page 149). he locetios 

fhe location of the high altar, to which are added side alt- 
ars in the smaller side apses, the cathedra and the seats for 
the priests, the division of the interior for the clergy and 
the people, follow the model Siven in the Early Christian bas- 
ilica. (See volume 1, page 149). Since sufficient space was 
at the commend of the clergy in the presbytery enlarged by the 
choir square and the crossing, and also sometimes by the enti- 
re transverse aisle, there could be an aisle taken from the f 
former enclosure by balustrades in the nave. 

Besides the longitudinal church system described here , the- 
re yet occur central plans among Romanesque church buildings. 
These are more common in soutbern countries (Italy and south 
france) than in the north, erected chiefly as baptismal chape- 
ls (baptisteries) beside the main churches, as churches of the 
Holy Sepulchre, or as chapels for the dead (so-called bone hou- 
ses) in cemeteries. Parish churches based on the central sch- 
eme are more rarely found and then are explained by the parti- 
cular conditions and relations of the countries and masters c 
concerned, 

2. The structure. 

The development of the churches in height was carried on in 
the early time of the Romanesque period still entirely within 
the limits of the always low antiave-Christian basilicas. Yet 
in its further progress the dimensions begin to increase, and 
in the best period of the restricted system (about in the sec- 
ond half of the 12 th century), the height of the middle aisle 
to the springing of the vaults generally attained twice the b 
breadth, thus being twice the side of the crossing square. 8B 
But advances fer beyond this measure were made finally. ‘The 
structure itself is essentially determined by the mode of fra-. 
ming of the ceiling. So long as only visible framework of the 
roof or horizontal wooden ceilings came into consideration, t 


EY vie 

iliasd ‘ssaanLos viet e108 bouot ogis 918 e1eds 
Benen lod ste) ylesidtue deer ofeis eibbim edt to eliew edd 
$6 Acilizsd e‘disdat8) eedorssio ositotvolisd edd oi ybeorls 
wd bess lass e1ew samulos edt ,(L6L obsq .f emulov :ioedatedé 
| jenemof exitas odd gniswh betsnimoberg eseds seveia Saorte end 
% el sig To noigsstedis edt besnitnoo opls tsY .boiseq supe 
‘- tee ‘entintoo bas (oleits elbbim edd To eoxsspe eis Yo esfdas edd 
 eedomnsis ‘neute) oft Sooms hevora ge1ti ef dotdw .wodt neewited 
“3b {doer0d ge dowsds yedds beyoudeeh sonte aaol edt ac besbnk 
~oeaee anied (get etsq .t smetov see) BTS ae0y sat ni betsorb 
.. i? a -RiG 998) .eeontvong moxs? edt ak taeupest yflet 

eds of Ifet mofdoiq sedtons eslete odd to antéivev ent Aci® 
~sudindeib yimtotins yiderslod ext bevisoss vino ton s1 seta 
a tinav éf¢ to ssdi0cque ex sweosd tug . [few sat to tdaiew bs 
a “#09 Fics) nedd gene t9iqg od? .s3f no sSnebneaeh esw dove 26 base 
+, ea¢ Ti olidw ,di oF benBiees beol edt oF déeusrde ni bacaess 
Pe 9G OF sew $i .3i mo hetees olete elbbita eat to sd loav tend 
xsl lene eas d4ocaue of bed ylao ti Ti neds .svieesu Siow shem 
sof ai beanatis sd o¢is teum sit tu8 .ofletse shies sds to eilsav 
é ‘to eredmen oad acefw .woddorq [axetoside ett o¢ Snibiooos m7 
“ef 01g abigknetoes yd dacqane Snibvogeei109 besiupsa ifuayv eng 
: seooni eis mort Snibasixe .eteteslia 10 asia sdé 90 enoido 
asdni bas niew odd bosenizito eudT .19ig odd fe saad sid 
ett. (Of .2829%) .erstq bawogwos odé es {low es ,e19fo ots 
sets 10086 “oy Satta ia 2d ot omss oefs noftonu? feotiste sit moat 
ie beoaeiseqxe yeds Boidivey ai iffde Saionsybs aai¥ .xisy 
¥ ¥é bevieosr eure eindogita eitdoe sdf .tnemtse1s tedoeia neve 
| to emsot ets bas edsogone to dosife Snigsnsstis {eox9etat edt 
et ~ndo odd entre) ,tnomdsexd oimisya Sos begamins oa &nilioo edd 
» eid doosreban yitusuees2 yaudaeo dé St 663 lo sipéostidoxws dow 
) Pe. bed yilenigiso edd ,esoiliead dove to anid fpsv 
’ sed #107 edt .1olsiedd bshosdat sisw so eeatliso nsbo 
“seaniliso edt of bigger & evino yltvenpsit edroaque edt 

eat ni esdowss eupeensmos to tnisdinsv tesiiass edt 
e ehuiisssebau dnobusaebat visiiine #6 so beivieo aew Slyse 
9 tot renoinss beteiease ylobiw soidd oi omit emee odd 
# at ,(Se0r-e80r) yawi0 to dousdo yodds edd de ybaadae ai 
ba 0808 nested) eortg? Yo elsrbetidso sad ds esoniverg eurd® \\ 


” 


| “i 


a, 


_—_ 


16 
there are also found more purely columnar basilicas, in which 
/Otne walls of the middle aisle rest entirely on columns. But. 
already in the Garlovingian churches (#inhart’s basilica at 
Steinbach; volume 1, page 181), the columns were replaced by 
the strons piers; these predominated during the entire Roman- 
esque period, Yet also continued the alternation of piers (at 
the angles of the squares of the middle aisle) and columns set 
between them, which is first proved amons the German churches 
indeed on the long since destroyed abbey church at Lorsch, de- 
dicated in the year 774 (see volume 1, page 182), being espec- 
ially frequent in the Saxon provinces. (See Big. 8). 

With the vaulting of the aisles another problem fell to the 
pier. It not only received the tolerably uniformly distribut- 
ed weight of the wall, but became a supporter of the vault, a 
and as such was dependent on it. The pier must then farést cor- 
respond in strensth to the load assigned to it, while if the 
great vaults of the middle aisle rested on it, it was to be 
made more massive, than if it only had to support the smaller 
vaults of the side aisle. But it must also be arranged in fo- 
rm accordins to its structural problem, when the members of + 
ctions on the pier or pilasters, extendins from the impost to 
the base of the pier. Thus oriSinated the main and intermedi- 
ate piers, as well as the compound piers. (Figs.10).11). On 
them the statical function also came to be expressed decorati- 
vely. With advancing skill in vaultins they experienced an 
even richer treatment. The entire structure thus received by 
the internal. alternatins effect of supports and the forms of 
the ceiling an animated and rythmic treatment. (Since the chu- 
ech architecture of the 12 th century frequently undertook the 
vaulting of such pasilicas, that orisinally had horizontal wo- 
eden ceilings or were intended therefor, the form treatment wif 
the supports frequently omits a regard to the ceilings. 

fhe earliest vaulting of Romanesque churches in the Sreat 
Stylé was carried oa as entirely independent undertakings at 
the same time in three widely separated resions; for example 
in Burgundy at the abbey church of Cluny (1089-1095), in the 

// Rhine provinces at the cathedrals of Spires (petween 1080 and 


Aa, betiias 8 no beesd 9168 meda to [fh .yuntaso dé 
sa “ terit ei geleis edt 30 10itedat hetsgnole sit es 18t 
a ods mort anteia eomidewoe .esious sereveneis Isaevee ya 
Feil to noivivibdve & beoubowa seedT .ereia sdt to enoitost 
a pv nedd ouew doidw ,ese1% 10 eyed etdexrsqess otot bailfeo 
ie eedorndo donst% exotesun tot es ,bewen desit gatblivd sdsz 10% 
a Ifede ow es ,Josqeot eidd af soitieoq otsisaqes & omuses tant 
ps lets elbhie ed? 102 seeodo esw siusv Iennyt edt ,redel 998 
sor tasticcmi stom yiedinitni ,¢{sav eeor edd sven exedto ed? 
- sist -(80t esheq .f smufov 995) .t18 Ievesibem to sotdulove saa 
‘y \S1bdoed idots doisdd 102 beiine yliséooitasg es ifseti ewode 
- abme tewol edi ot ferrsiensit ef bsol aailieo suitne sdt sonte 
nofsiteqes aiedd One sedéis cersvensis edt ,eont{£ asiov2 edz Yo 
teat yleattos yléusupeenoo bas .eefois shia edt ,elisw est ao 
Pi _Xvees yileceuow (fide sow edivey edt gexit FA .exeiq edd no 
et osls ei ydoredw .(.3% 52.6 of aw esoale sistaso ai) qeab bas 
-nduds bas eisia sis Io eeontoids yienibicertxe eds beateloxe 
7 f ot bebseooxg nooe doedidows edt to exoveshss edt .ellew tas 
gaotte edd ylasiuoitisq bas etivev edi to sdatew end gouber 
im —3ipev Beomo ‘Isnékiro eid a0 .morteredd battigeex Jewrds obie 
A moss edt .ctivev Lenunt ond Io noidgoenretnt ond yo beouhora 
- seni, is 8i moidosersini aiedt sonte ,ceqil{e selt « miot esoil 
ae ‘emuloy e8@) .dovs bavor edt to mwoxo edt es tidied emee ofa 
ay 6 & nat sevrds sbie redee18 dom « esouborg eidT .(6St sbeq 


" -dh .redors Innoastb edd seis. oF ylleubsxs asked asm .seurdd 
 eadotase edt doset sesds .yaodaso dé Sf edt to olbbrm see tuo 
Dna, hommoS eds Hsswot e201 Ji wud Jasnosiaod reks0!L ou Baw 
| 81s ‘eneds) edaeutisqmoo tigsy siT toys salt s to mot ens ak 
we besaresevese bas eeoif nfo1s nsewged aelaasiad [eotasdas edd 
(mea aod) bol lénd leds tedd o@ ,ebiswqu bellewe sien feedois sbie 
bid of¢ to motdingose1 al «(SL .829) .boowborq asw tivey 
Tr to soidoubes 1sg01g s 10% sefors niors eds to sonsti0g 
it to bas edt duode ts yasm1e8 at) bebiosb yllenii som .tin 
s1enp & Boose 8 ast at ybsorls oreeeh asmaol ot .yaedneo ds St 


‘Med "basen od mort sivas ot eledoil 2 bas cork 


_ BwOID odd to snil edt adaomséasquoo fesnnut steseqse sdi a0 el &) 


is eda to noidgouber s nistdo of .dore beslice 10 asinoviotmee 


* 


17 
1100 and Mentz (begun 1081) and in Lombardy at S. Ambrogio in 
Milan and S. Michele of Pavia from the second half of the 11 
th century. All of them are based on a unified system, in so 
far as the elongated interior of the aisles is first spanned 
by several transverse arches, sometimes rising from the pro- 
jections of the piers. These produced a subdivision of the 
ceiling into separate bays or areas, which were then vaulted. 
Bor the buildings first named, as for numerous Prench churches 
that assume a separate position in this respect, as we shall 
see later, the tunnel vault was chosen for the tléddle aisle, 
The others have the cross vault, infinitely more important for 
the evolution of mediaeval art. (See volume 1, page 105). This 
Shows itseif as particuiarky suited for church architecture, 
Since the entire ceiling load is transferred to the lower ends 
of the Sroin lines, the transverse arthes and their repetition 
on the walls, the side arches, and consequently entirely rest 
on the piers. At first the vaults were still unusually heavy 
and deep (in certain places up to 8.56 ft.), whereby is also 
explained the extraordinary thickness of the piers and abutn—- 
ent walls. The endeavors of the architect soon proceeded to 
reduce the weight of the vaults and particularly the strons 
Side thrust resulting therefrom. On the original cross vault 
produced by the intersection of two tunnel vaults, the groin 
lines form a flat ellipse, since their intersection is at just 
the same height as the crown of the round arch. (See volume 1, 
pase 123). This produces a much greater side thrust than a s 
semicircular or stilted arch. To obtain a reduction of the 
thrust, men besan gradually to raise the diagonal arches, Ab- 
out the middle of the 12 th century, these reach the semicirc-—- 
‘le. On the separate tunnel compartments the line of the crown 
was no longer horizontal, but it rose toward the common vertex 
in the form of a flat arch. The vault compartments (these are 
the spherical triansles between Sroin lines and transverse or 
side arches) were swelled upwards, so that thel&wélled (bosom) 
vault was produced. (fig. 12). In recognition of the high in- 
portance of the groin arches for a proper reduction of the va- 
ult, men finally decided (in Germany at about the end of the 
16 th century, in Norman France already in its secon@ quarter), 


; CN pe ran ae 21 hse + See ee i 

F Pepa Mey hoy ee ar a ag 
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7 my Q f Oe i‘ , : Jk ‘ ' ; A a ait: 
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ry hey Tr 7 
ee 

Ay 

4 


sdk <gnipiythsertane end 36 med Sainidmoo .eedoas Leuoke 
Neen, od wedi. to Xsowden & oni bebivib esx vsd sds ydevedT 
feel bas [anpsay dtiw benaus sé bleoo adoentasamoo est dotdw a 
he beseoibot (Et -Bi8) etigsv eso1s beddia seed? .eeondords 
we Tet eve Isintonise extdne edt nk Sonavbs Saséi0ecal ylemeitzs 
ss “enoitavonat {sausoside seom betivees sen taetetenco esi more 
. “-ditore [svestbem tetel [fs to hus botseq [saottiensxt sas to 
“enit Ait gest? etIuey ee015 to notsopbortst siz dzr® .sautos 
\ -tw Bae .eoleis setoveness bos ofbbim odd at neds .poleis ebte 
7 «t emnlov ese) etinsy 1steiolo bas atodo to soiduoexe edd ds 
~neupoedue een SnigeorS sdi ditw bus ,esecs sit xevo (80I saaa 
~aine bal 


i jBeO10 efg Io woivesnt edd to nottseto sad bstolamoo ylt 
4 . 2ofifesd be 
To e1sq eit to miot ods .bottsq supesusnok oxidase odd enrawd 
ee ak elbbim Peetet .esleis shite sewol Asin betenimobsya soiftesd 
; “eto. asY (at ~Bf@) .ellew yaoserselo esti nit ewobhiw baa olete 
a _ stgend eid ot eousisies ddin beaoleveb stew oslq to seaqys tsa 
,3qy7 eat .enoeass Isagdourte 102 10 aofsetnt eds to soon 
.S. eeteeh bsd aysnwis boa etfvsy esor yd bersvog vives etiuo sxsw 
's eS wi to Teaqado slasil edt wi .(88 .&£4 sa) .aehated Isnpe to 
be sag .SIOI aeey edd to (stledqses®) arodtebeS ts eismofodtasd 
a5 yd dorsdo asdam me to &ntaevoo etisne sds to siamexs tevtt 
Ay Di yiieeticen bos tSnmem emse odd ai Seeds .ynawisd ai etisev seo 
a ot beisaso S18 .Onisiney toyx5 efds to sowenSini sis ssbay ‘ 
pees sew yoete0T .cefeis shie bas slbbiw edt aavo addbied Lan 
bred Isupe Yo tud axsiq yd bedaocase sofsednteas beobnt bantes 
> fist to meteye ont seors sudT .beitios yienospeenco base asa 
i es ebasdio e{dstoval ylleisdonrte A . (GT .er8 998) .eedoredo 
Ri Wolk essibemiesni besiusv « Yo notsseeni edsé yd bsouborg 
fe sedge eat to duemaoleveb oft dtiw eeleis shia dhic odd 
: ‘Usiw sedossdo [lSdceesat oT -eeiss({se otnr bemrolt andd 
ie sia est Yo bainstiite s sovboxg eroolt sisibemistai sdt esits 
ed & toe: eth eit acswied benawd vedors sersvensit sdv bos et 
coe visoesn baifevel ody fmifw yset{ss edd Yo snoteiv 
:@ ts ed? "ed Ivey item sifbim eft o¢ sonsteiast obie s 
(Bot esd oda to tads esssaixorggs yoiaednr sit to @' 
Ibi ta ede to eilew hase eae sonte cedeggnd od rotate 


a ‘ i * LF ’ Sis 


18 
to construct them like the transverse arches as projecting di- 
agonal arches, combining them at the intersection in a boss. 
Thereby the bay was divided into a network of ribs, between 
which the compartments could be turned with uneaual and less 
thickness. These ribbed cross vaults (Fis. 13) indicates an 
extremely important advance in the entire structural system. 
Hrom its consistent use resulted most structural innovations 
of the transitional period and of all later mediaeval archit- 
ecture. With the introduction of cross vaults first in the 
Side aisles, then in the middle and transverse aisles, and wi- 
th the execution of choir and cloister vaults (see volume 1, 
pase 106) over the apses, and with the crossing was subsequen- 
tly completed the creation of the interior of the cross vault- 
ed basilica. 

During the entire Romanesaque period, the form of the pure b 
basilica predominated with lower side aisles, raised middle a 
aisle and widdows in its clearstory walls. (fis. 14). Yet ot- 
her types of plan were developed with reference to the treat— 
ment of the interior or for structural reasons. The crypts 
were quite early covered by cross vaults and always had aisles 
of equal height. (See ris. 82). In the little chapel of S. B 
Bartholomatis at Pederborn (Westphalia) of the year 1017, the 
first example of the entire coverins of an upper church by cr- 
oss vaults in Germany, these in the same manner and nanifestly 
under the influence of this crypt vaulting, are carried to eq- 
ual heights over the middle and side aisles. Thereby was obt- 
ained indeed aneknterior supported by piers but of equal heis- 
hts and consequently unified. Thus arose the system of hall 
churches. (See Fis. 15), A structurally favorable change was 
produced by the insertion of a vaulted intermediate floor in 
the high side aisles with the development of the upper stories 
thus formed into galleries. In thésehhall churches with gall- 
eries the intermediate floors produce a stiffening of the pie- 
rs, and the transverse arches turned between the different di- 
visions of the gallery with the leveling masonry above causes 
@ Side resistance to the middle main vaults. The impression 
$ of the interior approximates that of the basilica, but is inf- 
erior to that, since the upper walls of the middle aisle have 


i fe hh ee he lik | et, is 
Bee cae Rihs ', ieee noone 


“af, ae a uf “| ie ig jae é ms ‘ve j 
beri ii “pial, 286 a to of “ioe, par bat Tn 
w trelie 2 edd Yo. gioo1 8 “evede ‘elete elbbim edt to 3 


fee adie ‘pot tteed bed Iusy sit. feud .8avs won.s betsexo Da 
(OE .bi cee ‘adadmorapudnts te Levbedts®) .2g 

bed di . to fuesaaleveb to eemoo Istesea eid? mort satastieG 4 
ud dowudo edd to tad? .botseq oupeenemoR edd Io cottowidenoo 
0 Bat si yileiosgqes .désa wea 8 tuo xouste sons7% at ent 
ae itedimi Jooribh s dtiw esomemmoo ylinebive 31 .esonivora ave 
sin even s to Sninnsoe edt dtiw ebodtem Ieautoesidois asmofh to 
ie rl gev Iennud 8 yd ,fotedo [fed befiso-oe ¢ .ofeis sfante ar 
oi foidy .eedo1s ser]evensit yd eyed ofai bebivibdee ef sada 
i <- even ed? -eanmuioo tied x0 eupitas edt edit exeiaq L[isw mort 
Be a: eexsyensxd & to noidseent edd soodaiw fue sstis odd de ebas 
—betevoa yltaenpest .moo1 1fodo bheris: ersupe 6 din tod .olete 
’ ylass wiev du8 .seqe Isuosyloq Qninioios as bus .9m0b 5 yd 
boaoieveb oefs gaw yiudne> dt Of sad to baue odd sedis bas 
Pea. edd of emod ts omsoed noose stadt .dorsdo [led sdt to meteve 
-) pome7t 9 teow bas dévoe smertxe edt oi es [fen ee yellev ono 
- 3 buoyed es tiew es dition sid ogni bessuteneg eonedd moat bas 
88 nks3s. goiteliss to aoisseent edT .aieg® ogni eesae1y9 edd 

a cit eed Sad atin betsous 10f1ssai sfd To dasmeex4s nisties 6 Sv 
eons stedivon bas eibbia az bedsnimobsag sotdw ,sayd asot 
doemevow Seigivsy odd e198 .eoiaeiis: suodtiw bus dtiw dsod 
i. beditoesb ybsesils eeig00 [amion edt hewoliot sflodw oad ao 
ee saistiopé Oi ,deswitwoe eat to nismob besiai{ szedée1 « okt oft 
sad yd bebivib eyed siuev oft .eooneglint enténssyS isbas bus 
ie Bid see) eemob ovituébneg yd herevoo ete esdois seisven 
eeudd 20 siedweets eovissmeds bentstnian esiusv Isanad oT 

7 sta os Isfisvst sil iedtte etiusy fennss sit esdoundo beleis 
pay, nas tied ovad eolets obie edt 10 aoidoerth Lenibsdizaol 
ies pbia | edt to elfen edd senisas eteds enil awoid seodw ,etiv 
| eo pie nik 2ebsinevbs ¢set8 Bat baotts ydeseds .olets 
etxe © te tissv otsm ods to geuwid sbie eds isteneit ysedt as 
oth 8 8a eat) -psecciddud Bnivit ovtt el{ew [sate 
a ed (yay fenans sas bafesiq yd bentstdo ean 129 
u at siedd yo bebessous noes Siew seed? .eslats sbie sag 
: fi Beot9 to soidgobs Sd% mogqsereds bas .soid 
se ihe _ refers © eibbim eca ot oss yifentt bus slets ebte | 
ne Levestben oda to Nsatetxeo ankessiont odd dsiW ¥\., i 


ie 


+ 


oy aero ¢ .¢ ; 
‘Pr elds: Meare eh ee ie tS pi an ¢ 


/4# 


19 
no direct light. To obtain a clearstory, men raised the walls 


of the middle aisle above the roofs of the Sgalleries, and thus 
created a new type, that of the vaulted basilica with sgalleri- 
es. (Cathedral at bimburg-a-Lahn; see Fis. 16). 

Differins from this seneral course of development of vaulted 
construction of the Romanesque period, that of the church buil- 
dings in France struck out a new path, especially in its south- 
ern provinces. It evidently commences with a direct imitation 
of Roman architecturel methods with the spannins of a nave wi- 
th single aisle, a so-called hall church, by a tunnel vault, 
that is subdivided into bays by transverse arches, which rise 
from wall piers like the antiaue or half columns. The nave 
ends at the altar and without the insertion of a transverse 
aisle, but with a square raised choir room, freauently covered 
by a dome, and an adjoining polygonal apse. But very early 
and aiter the end of the 10 th century was also developed the 
system of the hall church, that soon became at home in the Rh- 
one valley as well as in the extreme south and west of France, 
and from thence penetrated into the north as well as beyopd t 
the Pyrenees into Spain. The insertion of galleries again ga- 
ve a certain agreement of the interior created with the basil- 
ican type, which predominated in middle and northern France, 
both with and without salleries. Here the vaultins movement 
on the whole followed the normal course already described, wh- 
ile in a rather limited domain of the southwest, in Aquitaine 
and under Byzantine influences, the vault bays divided by tra- 
nsverse arches are covered by pendéntive domes (see Fig. 58). 
The tunnel vaults maintained themselves elsewhere. On three 
aisied churches the tunnel vaults either lie Barallel to the 
lonSitudinal direction or the side aisles have half tunnel va- 
ults, whose crown line abuts against the walls of the middle 
aisle, thereby affording great advantases in construction, wh- ~ 
en they transfer the side thrust of the main vault to the ext- 
ernal walls like flying buttresses. (Pigs. 59, 61). This eff- 
ect was obtained by placing the tunnel vaults transversely in 
the side aisles. These were soon succeeded by their intersec- 
tion, and thereupon the adoption of cross vaults, first in the 
Side aisle and finally also in the middle aisle. 

With the increasins certainty of the mediaeval architect in | 


i igs la hii 
| i $e vas 
eens ar ee Pa ee a a ( 

; WV iC y ae ai . mie we” a hel Ne 

re - oi ig? 


shi 7 aN 


at ebte bas sdaiew be 


“oe eel edt of gaibnogesi10s 


bas ten besnituoo yllstenet asétef ed? .x9easol ylisunbsab 
bebtelae o1en stud .eelets ebte sat To elfen tetuo ot ni Ifeme 


_ tdait mib Isoiteym 8 dein bo{f{it yLineupsenon eew dosedo edt 
sata sn tdeii sidetove}? teom of? .websewgqu xesddsil ssdwomoe 
od BniawoTo edt to mutb: issosyioq edd af ewobutw edd yd bedes 
_ owed eid ai bevisce1 erswod sbte bas aisteew edd oviwedid tow 
evods Ifite tad .ehotaege etid-sole bas [[sae eine esitote 15 
,*bake tesusl odd yd inisoavs base sdbil oxom oben sisw joer edd 
p sdéiGbbosasseesw asco eissivoisaad .ewobnin bofauveo bas of 
‘wolfe of t9h10 oi ,xswod Ifed 8s a& hebnetai .yiote Jecansqas 
‘Igbimeaya to {soin09 .fied sdt to bavoe eft of saeaeesq eerxd 
- dotdw so 99 ,enote suo Io hetounteaoo ylevieesm yltnenpertt .eeritaqa 
evods seit yilenau coldsa Ifene .enusia Ieaoayloa 16 a1sspe 107 
a 70% (Nt sRtF) .nottecimisd edt Sata10d .esbie saossliib sdé 
| -niewes Snibiiod edt to sebaisme: edt to Snitevoo Lentetxe odd 
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oe toe ar tea 8 dtiw .bofaeq setdeisd) yiosh supiias odd at nom 
pe Any meh -(bssf) Istem 10 estela .eolia 
CE ceaitetes sat Sninatbed edt of dididxe ehoitesw [eoindosd od? 
r /) .x0T Sas goksoutsenoo af eisblivd es to ydnisdveocy Sait 
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nid in! ebatbitted edt bas beaaote od daow teom yforer soa t08 

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| us Bo an aneath edd nt estosivocsat mort emit reset dovm s 
a not tae bi on seeded {tse ovenpe edd soidw 103 .neio: Savor’ 
i : + ns 


(ee 
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ll A ae 


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emsced ewobsiw bas eyswio0b ts enoktoserssei siedT .edlogv 


; Yo sofsesat ed? .eletea elbbim edt to elisw ysotexssfo dt ai 


Tr beqoleveb eew etniblind edt to noitosss edt a0l exedsords 


20 
vaulted construction appeared a reduction of the wall masses 
corresponding to the lessened weight and side thrust of their 
vaults. Their intersections at doorways and windows became 
gradually longer. The latter generally continued narrow and 
small in the outer walls of the side aisles, but were enlarged 
in the clearstory walls of the middle aisle. The interior of 
the church was consequently filled with a mystical dim light, 
somewhat lighter upwards. The most favorable light was furn- 
ished by the windows in the polygonal drum of the crowning to- 
wer. hikewise the western and side towers received in the low- 
er stories only small and slot-like openings, but still above 
the root were made more light and Sraceful by the larger sins- 
le and coupled windows. Particularly open wascarranséddthe u 
uppermost story, intended as a bell tower, in order to allow 
free passage to the sound of the bell. Conical or pyramidal 
spires, frequently massively constructed of cut stone, on which 
for square or polygonal plans, small gables usually rise above 
the different sides, forming the termination. (®is. 17). For 
the external covering of the remainder of the buildings remain- 
ed in use the gable, shed, hip and conical roofs, already comn- 
mon in the antique Barly Shristian period, with a covertae of 
tiles, slates or metal (lead). 

The technical methods exhibit in the besinnins the still fum- 
bling uncertainty of the builders in construction and form. 
These were even then chiefly of the clersy, who had no traini- 
né in building. Only after taking into service suitable lay 
‘brothers for the erection of the buildinss was developed a per- 
manent race of mechanics, who indeed according to need travel- 
ed from one building site to another, was gradually cerystalli- 
zed technical knowledge. An arrangement of plan and prelimin- 
ary calculations of the project for a church in the modern se- 
nse indeed never occurred. Frequently without regard to whet- 
her the means were adequate, the buildings were commenced, in- 
deed as a rule with the most important part, the altar house. 
But not rarely must work be stopped and the buildings utilized; 
the enlargement and completion of the structure was a work of 
a much later time. From inaccuracies in the dimensions of the 
ground plan, for which the square still afforded a convenient 


vi rs 

» +Iq sit at ofgne tdsix end mott noissiasvy edd .stues9m to tray 
Psbueqeb oels com teds .notenJonoo Mie edinres eiif oft Sue ae 
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| dbbd Ootatetts yiisvberk ,anitest isotesse est 2atblind sds Yo 
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syebot eoasbive biotite “Brewos enitaset” 

3 Tae ia teaktens se¥ .boot ylteos esw ileeti L[etietag off 
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enh .f canfoV) .ekniblind to eoieswet asmof% wort awoad .asts 
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iy 


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—— ears 


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pee ag to sao yideetinsm osis esw tt bas .S8SL sesy edd at 46 
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arene vbseuls .noivouttenoo doind ons setwedid 


a1 

unit of measure, the variation from the right angle in the pl- 
an and the like permits the conclusion, that men also depended 
on very primitive tools and expedients. In the construction 
of the building the statical feeling, gradually attaining high 
development in regard to the treatment of piers and vaults, w 
was often entirely wanting in a very important part, the subs- 
tructure. The walls, so heavy in themselves and loaded by the 
masses of the vaults, usually had such insufficient foundatio- 
ns, and indeed get so flatly on the ground, that notable sett- 
lemenits alreadyooccurred during the construction, of which the 
“leanings tower8” afford evidence today. 

fhe material itself was mostly Sood. Men particularly under- 
stood how to prepare an adhesive and durable mortar. The mar- 
ble in Italy produced a splendid effect and permitted the rich- 
est moulding and treatment in relief. in France indeed men h 
had a less noble material at command, yet a fine-Srained and 
easily wrought limestone; but in Germany on the contrary were 
chiefly colored sandstone and tufa, that in certain regions 
and especially on the Rhine permitted a finer chiseled work, 
but in other provinces the coarse-Srained or porous structure 
precluded this. As the most excellent masonry was ranked ash- 
lar construction, for the animation of which by bands and sur- 
face patterns efe solychromatic stones appeared a special pre- 
ference in ftaly, as well as partially in the north. In using 
quarried stone, men chose a better material as a rule for the 
angles, mouldings, columns, piers and moulded members. In the 
bonding occur occasionally the opus reticulatum and opus spic- 
atum, known from Roman remains of buildings. (Volume 1, Page 
105). Very dangerous proved to be the widely extended use in 
the Romanesque period,of wooden timbers inserted in the exter- 
nal walls in order to distribute the pressuee and for anchors, 
still to be seen in the west buildings of the church at Wimpfen- 
im-Tal, in the west choir of the cathedral at Worms, and on m 
many other monuments. With other things it led to the collapse 
of the northern west tower of the foundation church at Pritzl- 
ar in the year 1868, and it was also manifestly one of the ch- 
ief reasons for the fall of the tower of S. Marco in Venice.* 
Likewise the brick construction, already native in Lombardy 


| ‘nae ~ 
ea + af 
aa 


nse -exeds ak. detiuddtes tin ean vito, Ben snode 
it 2o evods itiw Saisiconsed esis suor)HMen elisteh edt 
is gioiad [isw fevesibsm eff) .yistl asqqe Jo savscesidorseaia, 
rate to edd ssdt at .namoh-oppivas sdt woxd rettib yftet 
‘gs bus .eni T@.1 of Of. gino to stated s ctiw bex aseb « 
ag ® eved eioiad fevesibem eds eLidw ..ent fe. ff of V8. Yo at 
ig  83.¢ \wedkid yidersbisnoe sas bas s0foo hsi-dsiwolley ,seddeil 
| “ede od¢ giR .(eo0d went O6.8 tuods bas Voids weak ST.A of 
Nga @onsdi0qni edd behsoer notvonadanos dotad baw saoste to nore 
0808 ai .dtiok deid edt nf yiad .dcsisedem aniblind s e6 Boow 
. esew esfoiwsds edt dotdw aft .pstidnwoo ineostbs edd foe siventb 
ss 8d mi bennitmoo eetweiit ti: hoon to hesourteaoo yl{seresxe 
en Cee -eogs elbbhrm 
ae np Betssaxt yinorom sel. bsbmemmooes ybosaia bed susunnai¥ * 
5a sbeto © seuo bextado .9.f .bhoow subdo “beaando?® to esodo 
“f Ney | .booe <i% to doo nndd sidnsuh stom yiesinitat ef dotaw bem 
Se DTS 4 nokserooeb bas tawmtsent IeautosdidorwA .& 
- Dette bosoos oes esw 08 .moteve Lesptouste onitns edd evtd 
' “SGe0199 edt Yo bowo1s oft ni Jas syossnamoH Ie noiesetcxe mot 
—seeid0-yisei-nsinye bas enitassy§ yo bedsehiea [enpidas gawoR 
gmake: seve at fetaobs si déwova add Soitanh ac9 .esienebhnasd net 
vio asmisd. aveddion edt yd beteiaust aleiistem osnesom tod 


A 
oe 
+ 

Fagin 


fe ~ereR gud af hesxingoces od oF ante} Svidiming sdé tiwasa doidw 
oe - ei! ever Lea 
se td Do teteneahh attntinhbedan aan esutoesidnoyve Lsaredsi oA? 
iP | seivabdoe eit yd .eaaidieo bos edteqgue. amtassxt Yo bodsem sad 
‘. : a senannene bus evewr006 ai eSninaco odd yd bas .eliew ads to soz 
<i et ota enoieivib decieesio sas bevnitsoos exsig bos enmuloo at 
| chatdon 6 bewoliot usdt exiwiedso sud. +teviaeo ons disde .ened 


| ¢ icine camean bos doidt yifevenns eomitemoe eas en 
; wort doeheag yedd medw rsdiei edd ylteiosaee sobsele bus 
if 9d entstex cuntoo edd to evsd od%  vanmuloo ides. ae vai 

id yiLevenny sergt te et (Cl .2t8) ceed otddd odd Yo ofs% 


mS 


_ 4@ma0t. fevom bus bebasdo geors sonenltn@ seodw isbau .soises ~ 


a 


Be 
since the Roman period, in the 12 th century found entrance a 
and zealous use in the north German lowlands, where natural s 
stone was only procured with difficulty. It there bears tent. 
the details numerous traits harmonizing with those of the bri- 


ekaarchitecture of upper italy. (The mediaeval wall bricks ch- 


iefly differ from the antique-Roman, in that the latter shows 
a deep red with a height of only 1.18 to 1.97 ins. and a lens- 
th of 7.87 to 11.81 ins., while the mediaeval bricks have a 1 
lighter, yellowish-red color and are considerably higher, 3.54: 
to 4.72 ins. thick and about 9.84; ins. long). With the exten- 
sion of stone and brick construction receded the importance of 
wood as a building material. Only in the high North, in Scan- 
dinavia and the adjacent countries, in which the churches were 
externally constructed of wood, it likewise continued in the 
middle ages. 

“x Vitruvius had already recommended for masonry inserted an- 
chors of charred” olive wood, t.@. charred over a clear fire, 
and which is infinitely more durable than oak or fir weod.. 

3, Architectural treatmant and decoration. 

Like the entire structural system, so was also rooted the f 
form expression of Romanesque art in the sround of the German= 
Roman antigue, permeated by Byzantine and Syrian-Harly-Chreést- 
jan tendencies. But during its growth it adopted in ever ric- 
her measure materials furnished by the northern German civili- 
zation, under whose @niluence arose changed and novel forms, 
which permit the primitive forms to be recognized in but gene- 
ral ways. 

The internal architecture was substantially determined by + 
the method of treataas supports and ceilings, by the subdivis- 
ion of the walls, and by the openings in doorways and windows. 
On columns and piers continued the classical divisions into 
base, shaft and capital. But otherwise they followed no bind- 
ing law. Aecording to the structural requirements, the colun- 
ns are sometimes unusually thick and stumpy, sometimes thin 
and slender, especially the latter when they project from the 
piers as nalf columns. The base of the column retains the pro- 
file of the Attic base (Fis. 19), is at first unusually hish, 
approximating classical proportions in the best period, but Lt 


&8 

| ~ Beabe otsia es ee yilsenit Sniasseas ,sewol tsvs esmooed sodal 
org dantia 6h¢ moO Sntyfl entot sdd dofmw mort .sisoce gqesh e ya 
\ Sand 513° TO aoitamtoiens1s A .int0% tal? bos sbiw & ai esost, 
yd begseite eew elyta supeenatioN sdv of Bntkaoled ylevieuloxs 
| © * (dont 10 doold s exit terkt ts notevtbbs ne .3sel r6ea7T00 edd 
) .ebetsey stiatinit to emsot tnelq bae Lemine ni betuemsnto aedé 
? “aoe geait #1 -- .(08 .o¢@) dtntiaq edt to eefakne edt no bsosla «) 
® af emod ts ef sevel exsey 03 yheorle sod .wissdmod ai e1s9q 
SE eds to sis edt to oivgeaisedoeisdo & emtot sxedt bas yaswi6e 
elses eds ystsaeo dé SI sdv to Snkaniked eda ddtW .vaniaso dd 
a .euibivom selucos ed¢ yd besasflaoue esw sasmanto 
Atcife edt to aefans ont ot nov 

aiatalets sno to sbhsm) siddsifonom yiseom et ttadesomufoo si? 
snostinv ted .bedetnioth tsdwomoe &nied ease etdd nf .voemTed 
—a8 ni neds webselea svom Istenes at entemer stend 3] .etestad 
bewietesq sf .vietl ai sasq nt cells es siedw .sonest bas: basfd 
yiveom ef sostauve [ansetxs sif .eseuod at aotdcurdeaoo sat 
ef Boftasa sets{ edg mt yilewen stud .beadeit saoblee bas déoome 
beosiasfnt bas sfsoe .egot ,gqstdée .en1sideo Seeate yd borvevoo 
~“bbit sit ta anoitoonnod besdtonx 10900 ‘yilenolesson .dremsato 
“suios sdt yieti ai .eamafoe belavoo aict to eftede sat’ to of 
-iat bas aottensetia bstiav taom sdv at beteiws yiieven ere en 
=105 hoiveqssdsl sd® .(€9 .f$¢.e8f%) .eotaeom viteoo rtiw bis 
etgaibomietsi ne .bned amnloo sds dttw asdten? attsde edt bedost 
batathone tear? .efbbim esi ts betacent redmem bobisom begade 
figiw noisosinos book 6 medd &nivisS baa anwufoo [lene sat no 
8 88 oels edtouque ostt eft ot Seisesq astel oals .{lew ene 
(0m (afd) .ofyte nottieaest edd to vaen oteeirsgoatedo 

 +=peensmof no herstem eaw emrot fevon to visitev stingtnt aA 
eds at ear0t oepitns mort bedating vilentsix0 .eleticac on 
> betesmieg sion emosed seve ysdt .(S8 .Bi8) fotasd nsissivoired 
ot asmeS sit Lisav (mottetaomsni0 siedtaon yd bomsot%ensxt bas 
od beyteoteq sew bas Sstsmixordcs asw sidswontan sas to m10% 
edt 0d boessg oom syOtsysn? .{uvtitused son tsefo teddisn od 
6% to heed odd rol wiof eeod srespe sflamte otis to sorsoelLoe 
| +-n9q0 Yesaxtoimes s st ebie doss no To eidd aoifavor .oxnfoo 
" ~pnetxe anil bevane anttsocaue yizn0%se & yder9edw .ebiswan Bot 
| woredd benietdo sew eusT -{eteisee bus enoads o6% voensed be 


po 
later becomes ever lower, appearing finally as a plate edged 
by a deep scotia, from which the torus lying on the plinth pro- 
jects in a wide and flat form. A transformation of the base 
exclusively belonging to the Romanesque style was effected by 
the corner leaf, an addition at first like a block or knob, 
then ornamented in animal and plant forms of infinite variety, 
jy placed on the angles of the plinth (Wig. 20). -- It fisst app- 
pears in Lombardy, but already 50 years later is at home in G 
Germany and there forms a characteristic of the art of the 12 
th century. With the dbedinnins of the 13 th century the angle 
ornament was supplanted by the annular moulding, projecting e- 
ven to the angles of the plinth. 

Fhe columnsshaft is mostly monolithic (made of one stone) in 
Germany, in this case being somewhat diminished, but without 
entasis. It there remains in general more slender than in Bn- 
gland and France, where as also in part in Italy, is preferred 
the construction in courses. The external surface is mostly 
smooth and seldom fluted, but usually in the later period is 
covered by zigzas patterns, strap, rope, scale and interlaced 
ornament. gccasionally occur knotted connections at the midd- 
le of the shafts of thin coupled columns. In Italy the colum- 
ns are usually twisted in the most varied alternation and inl- 
aid with costly mosaics. (Fiss.221, 69). fhe laterperiod enr- 
jched the shafts further with the column band, an intermediate 
shaped moulded member inserted at its middle, fisst occurring 
on the small columns and giving them a good connection with 
the wall, also later passing to the free supports also as a 
characteristic mark of the transition style. (Pig. 40). 

/y An infinite variety of novel forms was matured on Romanesq- 

“ue capitals. Originally imitated from antique forms in the © 
Garlovingian period (fis. 22), they ever become more permeated 
and transformed by northern ornamentation, until the Roman fo 
form of the unknowable was approximated and was perceived to 
be neither clear nor beautiful. Therefore men passed to the 
selection of the simple square boss form for the head of the 
column, rounding this off on each side in a semicirelésr open- 
ing upwards, whereby a strongly supporting curved line extend- 
ed between tke abacus and astrasal. Thus was obtained the cu 


if re oa 4 en 
of i int bath pied eid sabe taiaaad taker nibiave 
i te s nt besdioreq eid? .(A SS .2r%) .botseq 90 
chivas mort ooitienert eff senasm lotedess ytiasd 
oat bas ‘Mowe oft to Jeoqmi e453 to oteups odd o¢ Sisde edt To 
8 Sstine eoosiiwe sbietebas edd hae eelovioinsse od¢ ai ebsotie 
f  diisow evolgdei seomis ss begolsweh tedt ,tnomsa10 toile t0% 


- -txewnea yidota ,éuemsace jnsiao bas baad eviteanikeat vidbid to 


| .» ybseris caw Istiaso soideso sdt .otex (lite Mi nev® .eorsd 
ee teetiaee .eaik ods baoved bas sbhie sids wo O808 sxoted bagot 
4 --foy} meest ts cesenill eft io xi9edo nxeseow edt go yoamie8 ai 

 thedeebliti ts fosdoi¥ .6 to dowde edt ni bus (SVL casa .f oma 
 (motkyynest6ed ai besilewmten emeced sud (ts .ai8 -601+1008) 
-fdotes {fe bniteninob otedt .* yintaso dt It edz to eibbim eas 
— sbokreq eupesaaemon gasd ead to sais extsus odt Saranbh saistost 


1 ett to bas soselA to t1s sdt to Ladgoso nofdeno bstase-is0t 
 -wdea0d oded bayois aeikes aid Hi sdidragedoo edd ,onidh sewol 
te vitetresossedo isgiqao bebloi so begolisoe sdéd bos ,90n8 

sedoxs doiad aemte? désom si .(@Y a8) -ewudosdidoss declaae 
z *e7q ydesils Iatiaso [sehiossasid eft bawet ybeouls ef sistosar 
| =taeo soidevo edt conat? ak = .(8.€S .Bi) .ybdredmod ai bowesit 
| tudaust betiseai edd sxsda sbesidewden yilevtor eax r9ven Ist 
‘git aioli egefous odd 28 bedenimoberq sa00 10 bemstya 8 70 


| | bedisoroe off .(A 28 .Bi%) .s0vsl yeteous beyotas elssiaso 
a teifea atedt of tgeze1q nedto. “eisitaso [soivoteta” 
) ndiitetb bes notdstasesi1qes besosnnoo nt yiove etitne. ae aott 
$0, antunexes edd, dsc¥ ..enmsioo to, veizea sxivne. as isvo bed 


; gs doold susnoe yveed sad tio soela edt ni reedeininib Istiaso 
_ » ebad ddiw Istiqso ed? .fied sehaete ais exyoce wx03 Isesd s 


SSI nods mort bebsscoue ese ¢1 378, eupneasmoS otsl. to x10 
reat es (SS .ath) Istiges ceveel dtiw Lied edt yd bisnao 

. 98 BuOS \9dT.-> ,edetiass supzensmof To emo edd to eaede 
or tim bedsexs ,datd ydeeidinse yiteow ei Isiiaso eas 03 
sifeox yd bedsxeosb ei si bas .eReibiuom saissogaue yl 


: yi 
4 ~ sa. % aS 
b) é 
7 7 


2; 4 ’ 
: oe) S \ : . 
ae earth ay . “ . 
P A ey) : 7 a L® 
Y - ’ ‘ . “i we , ‘ ba 
a i. ae ys ees 


f . ft Lemtas bis eshte eupeed or to meilodays [soiveym odd yd be 


-»-9a2? bebtsse2 oo of O18 mt0% feesd ond Yo anoidamrotensisd Bh 


eaebit edt yasmis9 Yo enoisex owoe ai bas yfetI aI .istiaso ™ 


| Gotdavo ods. to Sen o63 ,gawines dt SI end Yo xesievp test ond 


a4: 
cushion capital, characterizing the best time of the Romanesaq- 
ue period. (Fig. 23 A). This permitted in a simple and esthet- 
ically tasteful manner the transition from the circular form 
of the shaft to the square of the impost of the arch, and it 
affords in the semicircles and the underside surfaces suitable 
for relief ornament, that developed an almost fabulous wealth 
of bighly imasinative band and plant ornament, richly permeat- 
ed by the mystical symbolism of grotesque Auman and animal fi- 
Sures. Even if still rare, the cushion capital was already 
found before 1050 on this side and beyond the Alps, earliest 
in Germany on the western choir of the Minster at Essen (vol- 
ume 1, pase 178) and in the church of 8S. Michael at Hildesheim 
(1001-1033; Fis. 41), but became naturalized in Germany from 
the middle of the 11 th century *, there dominatins all archi- 
tecture during the entire time of the best Romanesque period. 
As transformations of the basal form are to be regarded the 
four-parted cushion capital of the art of Alsace and of the 
lower Rhine, the octopartite in the region around bake Const- 
ance, and the scalloped or folded capital characteristic of 
English architecture. (fig. 79). In north German brick arch- 
itecture is already found the trapezoidal capital already pre- 
fisured in Lombardy. (fis. 23 8). In France the cushion capi- 
tal never was actually naturalized; there the inserted frustum 
or a pyramed or cone predominated as the nucleus form of the 


/9 capital. In Italy and in some regions of Germany the figure 


capitals enjoyed greater favor. (Fig. 24 A). The so-called 
historical capitals” often present in their relief ornamenta- 
tion an entire story in connected representation and distribu- 
ted over an entire series of columns. With the beginning of 
the last quarter of the 12 th century, the use of the cushion 
Capital diminishes; in the place of the heavy square block as 
a basal form occurs the slender bell. The capital with buds 
(Fis. 24 B) found entrance and soon became a characteristic 
mark of late Romanesaue art. It was succeeded from about 1225 
onward by the bell with leaves capital (Fig. 25) as the last 
stase of the forms of Romanesque capitals. -- The abacus added 
to the capital is mostly strikingly high, treated with strons- 
ly supporting mouldings, and it is decorated by relief orname- 


“4 
‘ - , J 
x 1 *! 2 ot 7 Ligh of 


at vas wis, 
1G ide + * 


4 
w 
7 


(S| 


glance nh sbowaseserdoelieyets: emae eft tHodk *® 


- to ewtol edd ai eamuloo edt wolfot yflieido sasia sat 
6 basiand nsmr0h ak asigoitd ove .esedv0o ai shan ste .2988d 
Fs - exsape Yo sms yosoxeg ni dud .vietZ bas songs® atiylsxsa opie 
30 bexetmedo déiw ietal .nis{o bus elamie yllenibino .aoitose 
- ere to aeksibbs edd dtiw yidnesosst oeis bas relkae bsvoo 
. dsntwsed seqgu a4 .exenie® edt at eomuloo elssit sebaete bas 
bobivom 10 woled beisimsio .evosds exsuoe s svisos1 yedt act 
j edi Ratyed) 10 bednensnto ylerex stom .evoD 10 e980 .eut0d tin 
) 1 0ttH .amufoo edt to teadt of velimie istiaso ferwdtqluse nwo 
a beyisess osls seig sit noidouttenoo Eetisev to taemacleveb sat 
«80 hetostorq #i sort oltdw .snemtsexs vodoia yiantessiont as 


4 +. 90) Med .eredesliq asingasst0e1 .eolbas ont ai bodasesi et]ew 
“880096 Seisvensid edd oF Rnibuoagesrioe .gnmutoo istasso-seadd 
jehpat (LD 848) .atwey edd to edie bee 


oe: i Feebobevosane oels tse suypeensmoS .ersiaq bae eamefon esbhbtesa 
' eliew edt mort tootoro tens .eetoenoo ..2.t .ess0G0Ne a6 eled 
oe ~mem 20 [usw edt ti .edixn- tivsy odt to ateogmi edt svisosx bas 
aft dA .(8S .bf9 . meds rot bersos4c ton oxen reta ext toorsd 
_ BYOo ,ena0d of Hearvts1 10 nolsd beoubes y{no .elanmia sbam te 
 - ,buewnwob dobre ois detatwih opfe 19esef yeds exedmsm 9620 10 
 =te¥09 20 bobivom yigesb .ebimsezyq le miro ead svad yilsart bas 
’ a :taon {stnsmeni0 yd bs 
* ie bhp eat eteiq bine eaomploo sds mort dniei« esors edt of 
| pete / Spidns edt at commoo Jievidors bsbivom ent anivoss 
a Jom ean atas epteivehdns 19tdast oa eved ‘afise featetad edt 


, tome ts. hdl Mabviehaos srevsken hao worrel opines? f to 
i: 8 ddiw bemx0? retel .v9ns09 tawol beleved addin dele fs yiesem 


bd i) odd ts onl somidemos <ewobeiw bas estasile& to ewor ods 
| dime! vlerisas. 18 yidnenos1i dud Jesiqso seomisuay edd Yo sd 

-ulint isza01se 2 eved eupidas oft Yo esotdoot{oos1 sisd¥ bed 
| tat aan Teiver of doeite batemins s1om @ sisiw 10. .some 
gidota sion bos bedascos yiboorss e10m 19% ebasd edz 


fs. 2 ih pe " i Sesteast Aisi ts: ee ar Sapenabe: 


Hp sPR van one SeAinws cLoldeG\* eupisnn e434 9455 ssonoosd 


 woled .eedore ebeows edd evods bastxe .ekatbivom bas svoo telt. ‘ 


< eemecrmas exes Be: tcheerands eidd al bo 


ee 


re) 
ornament in the richer development. 

* About the same time (1050)“disappear tn Germany the remin- 
iscences like the antique.”(Dehio). Further see page 24. 

The piers chiefly follow the columns in the forms of their 
bases, are made in courses, are @ircular in Norman England and 
also partlyiin France and Italy, but in Germany are of square 
section, originally simple and plain, later with chamfered or 
coved angles and also frequently with the addition of graceful 
and slender little columns in the corners. As upper terminat- 
ion they receive a square abacus, chamfered below or moulded 
with torus, ogee or cove, more rarely ornamented or having its 
own sculptured capital similar to that of the column. With t 
the development of vaulted construction the pier also received 
an increasingly richer treatment, while from it projected or 
were inserted in the angles, rectangular pilasters, half or 
three-quarter columns, corresponding to the transverse arches 
and ribs of the vault. (Pig. 11). 

Besides columns and piers, Romanesque art also employed cor- 
bels as supports, i.e., consoles, that project from the walls 
and receive the imposts of the vault ribs, if the wall or mem- 
bercof the pier were not prepared for them. Fig. 26). At fir- 
st made simple, only reduced below or returned in torus, cove 
or ogee members: they later also diminish in width downward, 
and finally have the form of pyramids, deeply moulded or cover- 
ed by ornamental work. 

Fo the arches rising from the columns and piers is generally 
lacking the moulded archivolt common in the antique. bikewise 
the internal walls have no further subdivision; this was not 
necessary, since the walls were generally covered by a series 
of pictures. Narrow and slightly projecting belts, at first 
merely a slab with beveled lower corner, later formed with a 
flat cove and mouldings, extend above the arcade arches, below 
the rows of galleries and windows, sometimes also at the heig- 
ht of the uppermost capital, but frequently are entirely onit- 
ted. Where recollections of the antique have a stronger influ- 
ence, or where a more animated effect in relief was intended, 
the bands were more strongly accented and more richly develop- 
ed. In this Romanesque the frieze decoratéons present unusual 


98) eesekat before bavos eds ‘hovel sxe -yIcoumoo teo® ivdetaer 
/ yfao \wret seolomfe tiedt ni déod \(8BL .Sbf eode0 .f santov 
| -teofesce .esiousco dtiw ove es lien es .esfoeavov to beeoamod 
i emf eesitemoe 18 asdois ed? .iaow Istaemenro bas eeaibloom aa 
3 qofqas: moblee sud beekat ef exotst bedows Savor ed? .beoelast 
f eerereee s10m sit doum oa sod .(68 Bi) d6ieesnt oad nt bs 
k ras -29hsost 20 
¥ as “=°595 eoxsia? to enrol Sakwawoss yitnsuos7d bas asdt0 
‘ dolhid ott .(yllenobaib tee elidueh dtiw) elidasd svogsnamod 
Sqgot .ofnesol (hisodeeedo .efsoe .ffox ,Bessis odd Bai bivou 
>» ‘edd bebbs cele es seeds OT (VS .8rF) Jeexetat oredae has 
© .Bf8) \eevisom Lemtue bas tnsfa wort bsaolsysh okoiat Ladasmenso 
| one “baat gen 6 Mord beertl yisatine redtis ors dotdw (SE 
Revs -eonil ater afeds nf odereds baéanibrodwe yino 10 
edd yd besosite sivelisw edt to staemsaers eviansiaxs yosv & 
-Sadords edt ni°besreeci eodesasg 10 esitslisa asamulos wove: 
~setisifes to hestent aniaysooo ylfaubsrs bas (Ilew sat to a2 
~Meboow fstaosiaod tT .(@Of iatd ese) emutyotiag bslleo-es sug 
to efonsd at bebivif sebnof on 1s yods ,awo00 (Lide eaitieo 
necneee ers tad Peer enen paeterne? yive® sat nt as ,Bbeasitos 
i g iSesnisa Sas dtoome 
) eds tat tw taendecets Sewsoesidow as evieoss terft e¢igsy od? 
mde ed% To aotsiens1s [suhbeia off .edta ¢foeav edd Yo nottibbs 
_ ,efittorg basccz0s oft o¢ neitosa e801 telueastos1 edt wort ed 
|‘ batior hetatog odd of bas eetenimob eyswle basor edt dotdw at 
+ -efamsxe nA .8S sRiS Wort tasteqqs et elyse sottiensst sdt to 
; onan bas emtot beitsv y1ev ddin esnoteved edt to 
i geyon i -2S .orf9 yd pevre 
% cat ted ,ifew odt Yo slbbim-edd ni sit ewobntw edt yasmie9 al 
9 Sth ss o16 s0nest to d1sq TeeTs & Bos breldaH .ntsa® vist 
Sivalabs olderove? seom oft sivene Of “ebro al .sostave xSd50 
| edt) edmst edt .sniasgo Lisma eleviseler s Adwords tahif Yo ‘no 
: sive ots (Qntasco wobatw 10 t0o0h sat anieolons esostrne [few 
" wdweels) \yllsateani ‘bae yilentstxs dtod yasmisd mi ,boyelae yi 
Y Avestan ‘wos gesla pew eweole edd 108 eeterreta vino ere 


err el ee8 ofsefsis as bedossa yiuse stino ets 
bis Sntbsel edt ntiw enisttsq bas eroloo sasastirs 


\ 


28 
variety. ost commonly are found the round arched friezes (see 
volume 1, pages 143, 157), both in their simplest form, only 
composed of voussoirs, as well as also with consoles, enclosi- 
ng mouldings and ornamental work. The arches are sometimes in- 
terlaced. The round arched frieze is indeed but seldom employ- 
ed in the interior (Fig, 63), but so much the more frequently 
on facades. 

Other and frequently recurring forms of friezes are:-- the 
Romanesque dentils (with dentils set diagonally), the billet 
moulding, the zigzag, roll, scale, chessboard, lozenge, rope 
and sphere friezes. (Wis. 27). To these are also added the 
ornamental frieze developed from plant and animal motives (Pig. 
34), which are either entirely freed from a geometrical basis 
or only subordinated thereto in their main lines. 

A very expressive treatment of the walls is effected by the 
narrow columnar galleries or passages inserted in the thickne- 
ss of the wall, and gradually occurring instead of galleries, 
the so-called triforiums (see Pigs. 109), If horizontal wooden 
ceilings still occur, they are no longer divided in panels or 
coffered, as in the Barly Christian basilica, but are sheathed 
smooth and painted. 

The vaults first receive an architectural treatment with the 
addition of the vault ribs. The gradual transition of the ri- 
bs from the rectangular cross section to the compound profile, 
in which the round always dominates and to the pointed round 
of the transition style is apparent from Fig. 28. An example 
of the keystones with very varied forms and ornamentation is 
given by Fis. 29. 

In Germany the windows lie im the middle of the wall, but in 
Italy, Spain, England and a great part of France are at its o 
outer surface. In order to ensure the most favorable admissi- 
on of light through a relatively small opening, the jambs (the 
wall surfaces enclosing the door or window opening) are strons- 
ly splayed, in Germany both externally and internally, elsewh- 
ere only é@nternally. For the closure was glass now senerally 
employed instead of the earlier curtain or wooden shutter, and 
this quite early reached an artistic use by its composition in 
different colors and patterns with the leading and the true 2 


ws 

ebotseq deed bas vines edt of .(88 ebsa seB) .knitaten seals 
,fiome basor s ud besevos events teomfe exe egntasco wobaiw eda 
“ib s9,i) ,exswod edd a0 yiisiosaes .befauoo yisasups1i sxe yedP 
-wb) To noidgisent edt yd egntneuc stom to seads owt otak bebty 
“x8 gecanit as esif nedt anmafoo eltsil edt evodA .anasloo tas 
| evom es dti¥. .ifew odd to eesotoidt sai¢ne edt dduordt Bnibaag 
| =bivibdoe sts edmst wobutw edt .(O8 1828) notsourtenve suskelo 
| ~ Bo mottibbs edt dtin eqote si yifenretzs horseoss aedéte be 
| kw bedeiawst seve 10 .bemtok eats eolgne edt af enmutoo [leme 
ost. .etsnimoberg ebgwor sds hotdy at .redmsm goteolons as ad 
-qmi ed¢ Quoms .gedoqe to amiol wen heoubovsat botisq etsl edt 
“im Saoge .eobsenzo odd to eaeem yd teed edt moxt oaimoo seals 
,@edots befioi bas soneesiod edt seve aoeso ylieaotesooo dot 
.do1s Ifctest ead oemaded tae Ievesthsm to sasnel{s tasnsmieq A 
-deonle yifenbers wsitel sds .dows bedntos ent yhlsiosase bus 
-t0l oefs esw sobi wen A .fo4s buses sda Bnisnelaaue vlextdas 
Gf Satfegqo sefvorio Jse1k & ee wobniw [eedw 16 S201 eat yd bom 
 )eedays to eotoge, stil enmuloo fesaceni yd bebivibdse .iisw sad 
-$ tevo 10 eoldsd edt ni betneits yideisiera caw dotdw bas (et 
vale Cat aite «(16 .Bi@) .eooasatas odd 

sonsisne to noisvourtenc® eft o¢ Heteveb esw noitastsa tasyxP 
vines odd al .aistooq nism eds te seods yitetosase .eyawsoob | 
“si .asio1s bevoi yd hennsae seiwedil sas yeds ehoiiea geod bre 
gitsienes: yeds god .esfors Iioteid bae besgntog yd t¢aeq ak 180 
-d0 of teb10 at .yerioob fendos sit seve [eantd édafarte & sved 
/=seas0 teifes to noisibbs oct t03 monsomyd relvoiiorase 8 otet 
ii apisits eliew sdt to eesavotds Isueunn od? .(85 .ac%) .ta9 
B 8 ,beisome vidotup od tdkin bod to sen0k edd teadd o¢ bexive 
w “ehos aonmos veom ods dai |.edmse{i, odd to gatvelae beqsde-lsaned 
) segede telebosioss {e1evee ai bobivibdss exe sesdt .tasatse1s to 
a diiw abasot so eomploo see sect si9w eetans soidtivess odd nt 
| ~tomoe evd? .(86 .8§) .saomdse1s beiasv dns redoix 10 siomie 
 beeda-ao enusios bavow déiw eseotedle exsigq beSbs-sxsau0e set 
Riscnesdinenll at bownitaoo oeis ste iads bas .efagroa sis to edust 
8 ‘bobasaveded ed? ,omiert 6 oti moneqayt edt boieoions ,se 
} DP nga; Speacietibe: ed¢ yd Isitoo odt to soneortingam eis bsonadas 
| sie toisedaue: edt ai beosia yidsxeterg neds sxew doidw ,eoudes 
oh dpeehhae no bbs medt 10O% tho howoliod .arsig e1supe 
‘ae | -(8Y (82 .e8c9) .eoms 


Ms 
r 
i | 


ge eS ee 
a bs 7 - 


_ ed 
wales 


a7 

Slass painting. (See page 98). In the early and best periods 
the window openings are almost always covered by a round arch. 
Phey are frequently coupled, especially on the towers, i.e. di- 
vided into two, three or more openings by the insertion of dw- 
arf columns. Above the little columns then lies an impost ex- 
tending through the entire thickness of the wall, With a more 
elegant construction (Pig. 30), the window jambs are subdivid- 
ed, either recessed externally in steps with the addition of 
small columns in the angles thus formed, or even furnished wi- 
th an enclosing member, in which the rounds predominate. The 
fhe late period introduced new forms of arches, among the imp- 
ulses coming from the Bast by means of the crusades, among wh- 
ich occasionally occur even the horseshoe and foiled arches. 
A permanent element of mediaeval art became the trefoil arch, 
and especially the pointed arch, the latter gradually almost 
entirely supplanting the round arch. A new idea was also for- 
med by the rose or wheel window as a great circular opening in 
the wall, subdivided by inserted columns like spokes or by ba- 
rs, and which was preferably arranged in the gables or over t 
the entrances. (fig. 31). 

Great attention was devoted to the construction of entrance 


3) doorways, especially those of the main portals. In the early 


and best periods they are likewise spanned by round arches, la- 
ter in part by pointed and trefoil arches, but they generally 
have a straight lintel over the actual doorway, in order to ob- 
tain a semicircular tympanum for the addition of relief ornam- 
ent. (Fig. 48). The unusual thickness of the walls already re- 
guired, so that the House of God might be quickly emptied, a 
funnel-shaped splaying of the jambs. With the most common mode 
of treatment, these are subdivided in several rectangular steps; 
in the resulting angles were then set columns or rounds with 
simple or richer and varied treatment. (Fis. 32). Thus somet- 
imes square-edged piers alternate with round columns on the j 
jambs of the portals, and that are also continued in the arch- 
es, enclosing the tympanum like a frame. The laterperiod yet 
enhanced the magnificence of the portal by the addition of st- 
atues, which were then preferably placed in the angles of the 
square piers, hollowed out gor them add on small pedestal col- 
umns. (Pigs. 48, 75). 


a9 
AM " ips 
1 


3 tat ie gs we “7 ; \ ity { 4 Peis 2a 4 Rs, 
é ee te i a see a ae ee i 3 t) ip. 8 3 eae or het Baer a 


rib Ya 
Bd EMTS asset" dened ett ais Beybded Lash Inossexe oat 
PZ eee nselo ed ot erudonide dosndo en3 to asly bawosh of4 
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ie ods evods Sivis elbbim ad¢ ddiu svaa sit see on ‘bas 
do m0 ti@do oft .etqeenasd bas even to taiegors edd . bof 
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amy onade fenisixe sdf .eenee s of ti neddaneste bas mefaseto 
4 eakt belitorg ei 18dmem xeqqu eeodw .dénifa s dtiw esonemmoo 
Lind siitae edt bawoxe abnedxe ¢1 .efur s ee .ogad ofsth saz 
: doidw wd ,eciade Iisw woursa BnidosLorwqoseds ti svodk .anrb 
| bbe edi ai .aved odst bebivib o18 esostave [law lenassxs end 
beetenl .(Gb dd .66 2 .cd8iB) .ewobuiw ods eiI doidw to ef 
7 ied aebusle beyolame ylsuenpert oefa e168 eaiase (law sit to 
a ot .eletiqso bus soesd diiw exedesliag to (8 .3i%) anwsloo 
goat edd mort x9ddawt ¢oefo1g eakate Ifew sat hoisea iet¢el sat 
Z ~baogee7109 necs ifaw sit to easadoiat eds sessaont eds bas 
a -tud edd odat aesq yedt vilect® .asaccawe Lenis¢ni sad of ont 
: ~a'100 toor sdt wols8 .essetio [sievsa yo brswas booubed esead 
i060. 918 aqtave {few odd ,asldsh benifont bas atisd edz sot 
no 189981809 yiseluoisisq of .eseinxt bedors bogot ads ctiv bes 
ee goeqs of? .(66 .ur8) .etndoetinors supeensmo8 Yo ors 
/ zB istnositol <eebso1s boitd yd snemsse1s bertsieste « eved yi 
‘, feves 91s esainoo tied yd elisw [snredxs sit to enotetvibdue 
=not yisoisce ote yosmi9D ni tod ,bnslan8 bas soasx9 .yiesI nt 
avon foivivib sdJ 103 sviee yest eiedw .e19wod mo sasoxe ba a) 
‘epee Supesnsmo! edt dtiw bedeinwt sie eiva a es bas eeinode 
“teeta 8 io tofasixe eff .emict svitaiodsb aedso Bas baad {rd | 
| nolsenoost Isassootidorws bibnelge teom edt eovisosx Ierbedtso i 
‘eb Ea ss, 3007 edgy to sasd edd woled batbastxs suisoliad edt ud 5 
2 fl nid. edt &o0fs berovsi vyistelnoidieg eas seett wewsxeliss Ms " 
a to elaibedtss eft so Iuitdesed yilvtvoboow ers bas | 
A .(88 (St .eni@ 098) .eakolod to sedosudo ocd go bas Bir at) 
“2 exon dud eotato® sfed eds o3 aslimée w10% Yo .sofntos arsm a 
Pa cont seddo bas esdors bovor geived bas , betaeoon ylhnor | 
anret .beiasy vlsse1m aesio bas seddo doss svods enoitexo 
fees seoostane Iisw [sn1etxe eda to noitanimred 19qag 
raheem .O8 szso no benoitaem emrot (stasmenr0 | 
rooeb edd nt t1sq Jnsdt0GmE ns vexed sey (BE -2i@) Bt 


ia 
é 
La 


Te wort bovizes reunsoedidors ead te oem ig 
Ln 4 
. 


pire 


fi ¢ 


a 


ay 


28 
The external architecture in its Seneral appearance permits 
the ground plan of the church structure to be clearly recogni- 
zed: we see the nave with the middle aisle above the side ais- 
les, the crossing of nave and transepts, the chbir or choirs 


, With the apses and the massive towers, that animate the entire 


organism and strengthen it in a sense. The external structure 
commences with a plinth, whose upper member is profiled like 
the Attic base, as a rule. It extends around the entire buil- 
ding. Above it risesprojecting narrow wall strips, by which 
the external wall surfaces are divided into bays, in the midd- 
le of which lie the windows. (Pigs. 9, 36, 44, 45). Instead 
of the wall strips are also frequentiy employed slender half 
columns (Wig. 18) or pilasters with bases and capitals. In 
the later period the wall strips project further from the face 
and thus increase the thickness of the wall, then correspond- 
ins to the internal supports. Finally they pass into the but- 
tress reduced upward by several offsets. Below the roof corn- 
ice, the belts and inclined gables, the wall strips are connec- 
ted with the round arched frieze, so particularly characteris- 
tic of Romanesgue architecture. (fis. 33). The apses frequent- 
ly have a preferred treatment by blind arcades, Horizontal s 
subdivisions of the external walls by belt courses are usual 
in Italy, France and #ngland, but in Germany are scarcely fou- 
nd except on towers, where they serve for the division into s 
stories, and as a rule are furnished with the Romanesque den- 
til band and other decorative forms. The exterior of a great 
cathedral receives the most splendid architectural decoration 
by the triforium extending below the base of the roof.as a dw- 
arf gallery; these are particularly favored alons the Rhine, 
and are wonderfully beautiful on the cathedrals of Spires, Wo- 
rms, and on the churches of Cologne. (See Figs.°17, 86).97A | 
main cornice, of form similar to the belt cornice but more st- 
rongly accented , and having round arches and other frieze dec- 
orations above each other and often greatly varied, forms the 
upper termination of the external wall surfaces. Besides the 
ornamental forms mentioned on page 20, Romanesaue ornament (F 
(Fis. 34) yet takes an important part in the decorative treat- 


. ment of the architecture. Derived from antique tradition, th- 


@8 
a eons diag Isathiao ett at bettinueassd ton esw ted 
; bas , eaolsqeones neitetsdO-ylrei-aeisye bas safsassyg 
edo beisey teom eds af sesela of eaiesb bevesigxe ads yd bs 
| igh ed 24 .dnemgoleveb isifuosq s otnt bezesa noose ti .ee 
vont etai ‘bas entedtsq [sointemoes begenaiesb sd of sxe etasm 
smins ,eovitom gnsie ,noitantdmwos ralugenii neste ai ebaad 
tlsnonper gen Sotdtuossose ai ifide sonie .esaweit ansmon bas 
¥75 ofa eesq sutot eudtasos on? ,enoeemanote sad ot anidoss 
F ede tuods ts tseqgseth yloritns teoats bas eeqaie besser bas 
ena wok aweoqqge [lise seeds besbel) .yastasn dt If edt to slbbim 
: Ys fs osis s{omsxe 103 .etnemunom to seinse 6 n0 yassaco dz Sf 
.oenh ésods Snitenteiao esxig2 tea fesbedtso edd¢ to siedvee sad 
‘besbai foftdw ,énoméssit neioe 18 ai esvaesi{ andsasos &aimissg 
dest Sad adiw zsnsieeb iteds to ncivosanoo goszib s odsotbad 
sf ehatoy 682) -2obseuro edd wort anidiuest enordeler snd wd 
ae tnomsato eupesasaiod af bsyolome sevitom gasi9 , (Ger sdeq 
-oitaaq & sxiagoost tdébim sao stadt 62 .vVilewsitss bs¥ ieou09 toa 
vilenoisaovaon yiswa bosses sis vedd tod Jasla to bard t8fe 
-iw eeveol yitesom sae yodT »bexilenottasvnog yiknowte eis bas. 
_ adia beevergxe yldnowte déin enoteivib svit 10 190% eed dg 
6 ‘ebaad Sad of bebhs .entaism bos esdof hebawer 10 teonel bas 
d nistiso yileisned .eeedt oF Stsoibrodse bas effoxoe bas 
xs ,ee8nosol 10 ebesd to ewor yd deeed ers eo2be bua adita tes 
pornatd gemud Sos fentnA .t0mis Yo ebsed {tea edt Lfsoe1 Jsdd 
bi b sevo ezad ebatz Ife to ewiot fsoifodaye bas ekated egolpdst 
‘" “8 ‘Boidcesexge. ,2basd bas eflorsa .sbsigot sig odni yitoeirb 
i ~x9 us vino yisnsypest s18 tod .sleinessam Isoinoseitd x0 feotid 
- Betonases .moitantaemi eupesvo1s yisv ,bessains as to aodissexa 
) 8 Gxedss0n edt to enoigsdasesiqez Sisomeh bas ywools ens atin 
- eat .(nottstasmsato Ientad .t smulov se) .esks2 to esiiss 
[4 seh) ase edd at seredbs ednsmanio sd¢ fo acigucexe Lscindood™ 
ey 8 st tedaonsaro bisdmod to Seitbnsd boeiont sali sdé of omts 
fo “notdsdusaciae otni eoeesq totel tud .{f smulov see) 
eres $i3n0%n \gaisaus qisda of aemnait Inifide ditiw 
nee a mtels to aoissnred fs genstai ns bas 
& seondeort euotosrg edd ,dasmiseas 
aes epee ot ,an10% te eitsy eidivenedxe 


“Was. yh a! 


darow isis: oe busi ,diuone ob tonnse noissnigeni oad 
iz Hes tg! ; ae i | iy iy 
© odd dai asqueo ai asve .da8 evideroosb supesneaof 


; ‘ 
jana Le: ‘ 
re Ane § i , , , is 
Al  » 7- . Oa 
zx ~ 


29 
that was not transmitted in its original purity, influenced by 


Byzantine and Syrian-Early-Christian conceptions, and dominat- 
ed by the expressed desire to please in the most varied chans- 
es, it soon passed into a peculiar development. As basal ele- 
ments are to be designated Seometrical patterns and interwoven 
bands in often irresular combination, olant motives, animal a 
and human figures. Since skill in stonecutting was frequently 
lacking to the stonemasons, the acanthus forms pass into ary 
and rassed shapes and alwost entirely disappear at about the 
middle of the 11 th century. (Indeed these still appear in the 
12 th century on a series of monuments, for example also on t 
the portals of the cathedral at Spires originating about 1180, 
charming acanthus leaves in Grecian treatment, which indeed 
indicate a direct connection of their designer with the Hast 
by the relations resulting from the crusades. (See volume 1, 
page 198). Plant motives employed in Romanesque ornament are 
not conceived naturally, so that one might recognize a partic- 
ular kind of plant, but they are treated purely conventionally 
and are strongly conventionalized. They are mostly leaves wi- 
th three, four or five divisions with strongly expressed ribs 
and lancet or rounded lobes and marsins, added to the bands a 
and scrolls and subordinate to these. Generally certain bands, 
leaf ribs and edges are beset by rows of beads or lozenges, t 
that recall the nail heads of armor. Animal and human figures, 
fabulous beings and symbolical fords of all kinds pass over qd 
directly into the foliage, scrolls and bands, representing Bi- 
blical or historical materials, but are frequently only an ex- 
pression of an animated, very grotesque imagination, saturated 
with the gloomy and demonic representations of the northern s 
series of sagas. (See volume 1. Animal ornamentation). The 
/Fbechnical execution of the ornaments adheres in the earlier t 
time to the flat incised handling of Lombard ornamentation (s 
(see volume 1), but later passes into representation in relief, 
with skilful figures in sharp cutting, wrought almost free, a 
and an intense alternation of light and shade. The powerful 
treatment, the precious freshness and naturalness, and the in- 
exhaustible variety of forms, in which the formative power of 
the imagination cannot do enough, lend a very particular worth 
to Romanesaue decorative art, even in comparison with the clear 


08 
5  enpitne eds to X10ow [etosasuio bsznosys yieoil bas 
wememoH eds to tied terit odd ni entde0 osesalvoe Istaonawol 
“i389 S0t mo et00b exso1d) etowotss seeletead asin boiasa suoe 
_ seeoatt beeazsg si sud (S80L ni beseLanoo- .wiedesbiri ta. Leris 
E _wivstensiol sit to emit biinsice eat at servos brawn ytdsim s 
fF .-0ts Yo noivstnessnio dois edt ni besingooe: od yen dobdw .ans 
-qivoe Sue ecutsie diiw eiséiroq bos egialva .enesioe hoor 276 
~brawive siedt [fs astW (GY .8b .eatS see) . Setter nt verses 
eo feagten bas fedxt's to boddss sit Skdidxe eorneit sd¢ .8eon 
) ~tdote edt yd besiaxt elyte tol bniised s dciw beatdmoo 820828 
7 -eb evinp [lite vent s1e enoctsérogorg factevdg edt al .eantes? 
F eved yet gud -Ilide Ifise anted tusmevow ao se0g at .evidost 
. Beitse <Bofegeiqxe dgesnise yiameloe bus baouwe 6 asost ateds ot 
KG eLew | -Roitqsonoo srothites yigeeb bos eidon « seosebive 
mbsion Supesuswoh offs wi 2Pnidnteq of eliet asidors tse1% A > 
6 bobaetzs dowvio syoeensmo8 sit lo s0ivatni sittdas sad is¥@ 
-som [sietoesidors ads doidy vO ,djgemtsers snotdoviog betsatas 
=feost ehniiteo bre esostave Lisw eds bas. boxftesdama siew eyed 
© sAGS .at8) Lanisevos bssofoo ylsdgixd bos oxtferrtesasd) s bey 
b -soliadnemspso end overb sxe conildvo dosid vfieosy bas blod al 
“09 Bids veosiane odsusqse edt bus .alensa bas exetat edt Salm 
jeaoitesi bai vas duodtinw etoloo efomie ddiw hellit sys beacls 
Beuoce Io GHotsHInseo1g67" beiweotG edd nt ceiwedtd .zebsde to 
* ‘@) Boaphst oft .geiee aecdeq sit to stil edd a0 sidt@ sds work 
wage emse ond ni beseosxs ers yod? .tetde1 si enifebom on evad 
a “} otmdaye henties diiw best’saoténevacm: .esuemsnt0 sus e6 i]8KH 
» -tis eemeofons sit nt yldsebom begnsize ere yout bos eat lest 
bi } m0ae etree seds \ovoge1 aseh ed? .eawtostidois edt yd bebio 
“9 o tu0. bern0q 1x0leo Yo eenod misw odd <enoisedneesiq|ey sess 
weve bos deentss ond edosizeg bne soonaine. e1einstat edd 
jmesvoD 8 10% gnéretas ensisecrdd ene ebesorwe bas yoomred 
a © 10itesKe eit seiwedid .aoitevebh totup bus yidnsees sviz 
| betion yievoraomied s ni: esnidmom dousdo supesnawo# sit 
reso bessuberk bas bebnerse yifeoiwdsyd sak .viexigas bebavor - 
ve Paks aoivtmgooer! ra9L0 8 Jimx9 dmiin \Sotbiind edt to ase 
supe 1@ .em0o1 begofons suit to ssoqiad. 
amd: y. Ke aor? Lednommaom ylddid bus eatquo 
t haat weesnsentos bas yetnkth ameloe to atostte 


i 


30 
and finely executed ornamental work of the antique. 

Monumental sculpture besins in the first half of the Romane- 
saque period with tasteless attempts (bronze doors on the cath- 
edral at Hildesheim, completed in 1055), but it passed through 
a mighty upward course in the splendid time of the Hohensteuf- 
ens, which may be recognized in the rich ornamentation of alt- 
ars, rood screens, pulpits and portals with statues and sculp- 
tures in relief. (See Biss. 48, 75). With all their awkward- 
ness, the figures exhibit the method of a fresh and natural s 
sense, combined with a feeling for style trained by the archi- 
tecture. In the physical proportions are they still quite de- 
fective, in post or movement being still stiff; but they have 
in their faces a strong and solemnly earnest expression, whiek 
evidences a noble and deeply religious conception. 

_ kh Sreat problem falls to painting in the Romanesque period.* 
Over the entire interior of the Romanesque church extended an 
animated polychrome treatment, by which the architectural mem- 
bers were emphasized,and the wall surfaces and ceilings recei- 
ved a tapestry-like and brightly colored covering. (Wis. 35). 
In bold and usually black outlines are drawn the ornaments for- 
ming the frieze and panels, and the separate surfaces thus en- 
closed are filled with simple colors without any indications 
of shades. bikewise in the pictured representations of scenes 
from the Bible or the life of the patron sain}, the figures h 
have no modeling in relief. They are executed in the same man- 
ner as the ornaments, conventionalized with refined rythmic f 
feeling, and they are arranged modestly in the enclosures aff- 
orded by the architecture. The deep repose, that rests upon 
these representations, the warm tones of color poured out over 
the interiors enhances and perfects the earnest and reverent 
harmony and surrounds the Christians entering for a contempla- 
tive assembly and quiet devotion. Likewise the exterior of t 
the Romanesque church combines in a harmoniously united and r 
rounded entirety. The Rhythmically arransed and sraduated mas- 
ses of the building, whimh permit a clear recognition of the 
purpose of the enclosed rooms, presents by its picturesque gr- 
ouping and highly monumental treatment extremely impressive 
effects of solemn dignity and augustness. (Pigs. 9, 17, 36, 45). 


j iS 
si gk seraeas 3e8. ape pti 6649 Lo sodtulouve sh3 ad # 
ca + ' dics -B2 SQSq Baulou 
“016 To exntossidores supesnsmof edt to wotv [e10en98 edt af 


-ibs heeserdys ef seqsoo siisus esi SHiagG .e0eso sontteib s 
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-destiaem soblee 26 dowe ,noisentdiar ne bos aniiboed st vou « 
f “iseqgs ayenis eonts dove .enusoetidots to yioseid edt ai be 
-s90nenitar akiet0? of bas enoktavonnt wt oldiessoos viisiosqas 
063% at elidvasen bsqoleveb siyse Isipsostidors edt saotered? 
| eoneisns bavelt soos bebasol sew olyde oidao® adz doidw vd .69 
‘ soitteaastt eat .notzoenagoo ak betshienod .ebsael asm1s0 odak 
) _ +eeeedq teido ntwollot edt yd besisesosisdo ak elyte 
Bs Hew e6 onii gnidinsv 6 26 dow betniog edé sxevo toot se¥ 
19 {fsnozyloa edt ,edia Sivsv oft .moidsicosbh to fnsusis wea e 
edt fo Suemtesis sit 10} olcatine s10om esw isd? .enibae sto 
edd ni seiweifd .onqs bowor sit nedt ,aiodo end t9v0 etivsy 
hee1t smooed yifesbers som 6£6 aele havoig eds to snomsanerte 
ete sibbim ez sham ,esisupe of betorasees msteve sit mort 
t bnseédbbim odd ted of .eunisaeo eved edd tel bas asbiw 
sake ostW .eyed Sattiosvy to isdmpa omee eid bevisost eolete 
edt ,878fq bebivitdwe yidoia e10m b6ansixs sisw adia sas ‘os br 
. “vetles stew elisw edd bus .bedselne exew ewobmiw bas evawio0o0h 
a Bie). seoeeersiuc Hoagete o¢ safate Ifsw edt euntessaont yd os 
eer 3 ti agcods .sau at bheuaitaos [fite dors bowor sad ta . (88 


* 


‘ed Bebsors ong at ellaioeqce ,dows besnieg edt yd hasnelogoe 
‘ 288) -dots Iiots1s eds yd vitusq oats bas ,elets sibbim ont 
Piet: e1fcimee s Sus etastbeup owt to Sezoqmoo siveolo 100b odd 
est 8 bayot wettsl edT .(85 .8fG Lo mansqmys bedors basor sad 
- aommoe qiletosqas et bas .ewobnin bas eteob isve sesiq sitixoy 

& “qovsi ¢ss72 votae doidw eunitotiad bas esbeois batid af 
Ive isnaetai bas famuetxs edd anitenios toi ensem evisostis 


| eds ai sésoioidieq ewiol asddo ofa .ellex edt to eso 


- 
a 
J 
j 
\ ; 
% 
As 
it 


09 xluesb bas wot omae® ,eu08ds sommoo s svad .s.¢ .betq 
Iod obiv iswoi eds sonte ,etse008eih Isel sea10o sid saad 
yt edisie 9s? .ddmif eas to selene. eas booyed esostoza 
eet weed sal -enia amuLoo edt ofbbim edz ts 


y s28 bas tebusle s10cw smoosd eemeloo sdf .éaemsvos. 


esiqgooo .siyte aoivieuets edt to bottea sat emis oteL sit Va As 


ir 


~ 


re (7 


31 

* On the evolution of glass painting, see Chapter 2 of this 
volume, page 98. 

In the general view of the Romanesque architecture of Germa- 
ny the late time, the period of the transition style, occupies 
a distinct place. Burins its entire course is expressed a li- 
vely change in the construction and in the architectural forms, 
a joy in handiing and an imigination, such as seldom manifest- 
ed in the history of architecture. Such times always appear 
especially accessible to innovations and to foreign influences. 
Therefore the architectural style developed meanwhile in Bran- 
ce, by which the Gothic style was founded, soon found entrance 
into German lands. CGonsidered in connection, the transition 
style is characterized by the following chief phases, 

Men took over the pointed arch as a vaulting line as well as 
3 new element of decoration, the vault ribs, the polygonal ch- 
oir ending, that was more suitable for the treatment of the 
vaults over the choir, than the round apse. bikewise in the 
arrangement of the ground plan did men gradually become freed 
from the system restricted to squares, made the middle aisle 
widen and let the bays continue, so bhat the middbkeaand side 
aisles received the same number of vaulting bays. With rega- 


> rd to’ the ribs were arranged more richly subdivided piers, the 


doorways and windows were enlarsed, and the walls were reliey- 
ed by increasing the wall strips to stepped buttresses. (Fis. 
23). But the round arch still continued in use, thoush it was 
supplanted by the pointed arch, especially in the arcades of 
the middle aisle, and also partly by the trefoil arch. (See 
the door closure composed of two quadrants and a semicircle in 
the round arched tympanum of Fis. 32). The latter found a fa- 
vorite place over doors and windows, and is especially common 
in blind arcades and triforiums, which enjoy sreat favor as an 
effective means for animatins the external and internal surfas 
ces of the walls. Also other forms participate in the Sseneral 
movement. The columns become more slender and are usually cou- 
pled, i.e. have a common abacus. On the low and deeply coved 
base the corner leaf disappears, since the lower wide torus 
projects beyond the angles of the plinth. The shafts receive 
at the middle the column ring. The heavy cushion capital is 


. && 

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ih ais ord : me wae 


Sess 
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32 
Sradually replaced by éhe lighter and more elegant bell and b 
bud capitals. Phe heretofore simple and smooth archivolts of 
the arcades and windows are enclosed by round and cove. The 
cornices become weaker, more lishtly profiled and formed with 
deeper coves. finally the profile of the round in the diagon- 
al. ribs of the cross vault begins to approach the pointed rou- 
nd. (Fis. 28). With the strong raising of the vaults, the op- 
enings in the walls become larger and the buttresses thicker, 
The roofs ever become more steep; the tower spires hisher and 
more slender. And thus is completed quite sradually and almost 
unnoticed the perfected transition to the Gothic. 


4, Peculiarities of Monastery Ghurches. | 
Likewise to western monastic architecture did the era of Ro- 
manesgue architecture bring the classical age and a term of é€ 
extraordinary fruitfulgess. There were chiefly three ecclesi- 
astical societies, that powerfully influenced the evolution of 
mediaeval monastic life and architecture; the monastery at Cl- 
uny in Burgundy produced by the Benedictine Order (Volume 1, 
page 182) in the 10 th century, and its daughter establishment, 
the monastery at Hirsau in Swabia, and the influential monastic 
Order of Gistercians, likewise a branch of the Cluniacs at ab- 
out the end of the 11 th century, whose orisinal monastery li- 
es at Giteaux. (Western France). While the Cluniacs and with 
the Hirsau monks set as an aim an improvement in ecclesiastic- 
al conditions by a reform in monastic life, by an elevation in 
the customs of the clergy, and the utmost separation of the c 
clergymen from. secular interests, the Cistercians saw in the 
return to theeseveréerules of the Order of S. Benedict their 
life problem, and indeed they took up theseiin®their most ori- 
ginal form, devoted to agricultural activity. Unoccupied anf 
marshy, even unhealthy lands covered by standing water ( Cist- 


/ eaux, Gisterns) should be transformed into fertile soil, but 


the copying of books, painting of miniatures etc., should be 
dropped. It was infallible, that the principles of the differ- 
ent Orders should be transferred to the architectural style 

and lead to a definite regulation, which should then by their 
great extension, the Cluniacs chiefly in France, the Hirsau 
monks in Germany, and the Gistercians in almost ali civilized 


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33 
lands of the time, won a Bighty influence over the entire evo- 
lution and spread of mediaeval art. 

The building programme already described for monastic desis- 
ns in voluce 1, page 183, the nave churchaand the arrangement 
of the separate structures was also substantially retained in 
the result. An exception from this was made by the Templars, 
for whomethe Dome of the Rock erected at Jerusalem on the site 
of Solomon’s temple volume 1, page 216) served as a prototype, 
and who therefore arranged their churches as central buildings 
with a columnar aisle, and the Carthusians, who prescribed to 
the monks the hermit’s life and thus favored the system of cells. 

The architecture of the monastic churches exhibits special 
peculiarities for the different congregations. 

The Cluniacs nad for their earlier and more severe architec- 
tural bypésthe model in the abbey church of Cluny, dedicated 
in 981, @ horizontally covered, three aisled columnar basilica 
with eastern transverse aisle, rectangular choir endings, two 
rectangular chapels as side choirs, and two massive western 
towers above a vestibule. This scbeme of plan was adopted by 
the German daughter monastery at Hirsau as a model for the ch- 
urches erected by it and its congregations. The later Burgun- 
dian school in the climax of the Cluniac Order abandoned their 
former princivles of simplécityiin design and eaquipment inste- 
ad of the previously erected churches of the Order. The buil- 
ding constructed in 1089-4095 and 1131 (Fis. 38) contained fi- 
ve aisles, two transverse aisles and five radially arranged e 
chapels. Further the transepts were eachcenlarged by two aps- 
ses on the eastern side. About 1220 the buildings was yet ext- 
ended by a therr eisled pro-church belonging to the transition 
style. Thereby was attained the length of the old church of 
S. Peter in Rome. for the internel eouipment were employed 
costly materials, in part even Pentelicen marble. The exterior 
received a grand treatment by the enimated suddivision of the 
architectural masses end the seven towars (over the crossing, 


-9 the intersection of the inner side aisle with the larger trans- 


sry 


verse aisle, at the western angles of the transverse aisle, a 
and on the western fecade. The Cluniecs in their later build- 
ings followed the model afforded by the principal church of t 


at Kiely 


jib 


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34: 

. the Order, even with @ corresponding simplification in plan a 
and execution. Their model churches are always three aisled 
with single aisled choir, eastern transverse eisle and a vest- 
ibule. They carefully avoid the crypt, have a second choir 
with eisle and radially arranged chapels (as at S. Martin’s 
church in Tours; volume 1, page 181), tunnel vaults with cross 
arches in the middle aisle and cross vaults in the side aisles. 
Instead of galleries, triforiums extend below the windous of 
the clearstorys In the construction and the arcades of the n 
nave prevail the pointed arch (it is already found in the arc- 
ades of the principal church at Cluny just mentioned), but the 
round arch remains in the windows and decorations. A peculiar- 
ity in form is shown by the Cluniac churches in architecture 
by the classistic treatment of the fluted Corinthian pilasters 
as projections from the piers, from which comes the compound 
pier in steps. 

The chief activity of the Hirsav monks fells in the time be- 
tween 1080 and 1150. Their churches are three aisled columnar 
basilicas with vestibule, over which a gallery opens to the in- 
terior, easterp transverse aisle and rectangular enclosed cho- 
ir with two rectangular side chapels as side choirs. Two mas- 
sive western choirs flank the vestibule. Occasionally instead 
of them is erected a crowning tower, to which are added two e 
eastern towers. The middle aisle is covered horizontally; the 
side aisles have simple cross vaults. An earnest and dignifi- 
ed equipment is peculiar to the monastery churches of the Hir- 
sau monks. They restrict themselves taclusively to the round 
arch, employ only cushion capitals, even at first form the ba- 
ses of the columns without corner leaves, and also generally 
omit the wall strips and arched frieze. To the Hirsau monks 
is it due, thet the basilican scheme was again restored to its 
primitive form, after its general effect had been much influen- 
ced by additions and extensions of many kinds. The mother ch- 
urches of the Cluniacs and Hirsavers have disappeared with few 
remains. In the abbey church at Vezelay in Burgundy is still 
presented a complete representation of its severe style. 

Yet greater than of these two Orders was the part of the Cis- 
tercians, whose congregation was founded in the year 1085 at 
Citeaux (qistercium) in northern Burgundy, in the history of 


8 Teteuit-tide yeuolses tied Lowdsoasidons fsvestben 
aa aottsxinoloo LeivtLaotstks to nismob odd at vaivitos Le 
gedit tet oa .dotanstxs bas ystasluaog ts518 modt of bsisaee 
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35 
mediaevel architecture. Their zealous, self-denying and usef- 
ul activity in the domain of agricultural colonization soon a 
assured to them great popularity and extension, so that they 
finally attained to a spiritual power, to which the importance 
of all others gave wey. bLixewsse for their church architectu- 
re, they established a limitetion to bhe necessary and the use- 
ful as the supreme rule. The towers could be dispensed with; 
only a wooden roof turret over the crossing to receive the sm- 
all bell was dechared justifiable. The crypt was everywhere 
omitted. As a normal ground plan remained the cross-shaped 
pasilica with relatively narrow and elongated nave, a single 
transverse aisle, whose transepts were extended by small chap- 


2,els at the eastern side(see ground plan b c d in Fig.186) and 


a rectangular enclosed choir. The number of chapels was incer- 
eased toward the end of the 12 th century. They are arranged 

as small rectangular cells around the entire choir and the ea- 
stern side of the transverse aisle, sometimes as a double ais- 
le (Hig. 39), each of them covered by a common shed roof ext- 

ending around. The German Cistercian monasteries at first st- 
ill preferred the horizontal cepiing, but soon passed to vaul- 
ting, whose improvement by the introduction of the pointed ar- 
ch, they utilized earliest in Germany. (The Bistercian at Bro- 
nnbech near Wertheim.a-M, founded in 1151, is the first German 
building with pointed vaults and an entire retaining of Roman- 
esque forms). The interior remained almost without decoration, 
without galleries and triforiun, without paintings on the wal- 
is and without color in the windows. For the capitals was pr- 
eferred the bell form, either plain or sparingly decorated by 


/foliage. Phe corbel-like supports of the large rounds (Fig. 


40), (indeed for reasons of economy), is an architectural pec- 
ulisrity of the Gistercian churches. The clear, assured and 
direct technics held equal pace with structural acquisitions 
developed in France, in regard to the arrangement of bays of 
equal length, the construction of supporting arches etc. Thus 
the Gistercian art in the wide regions of its extension prepa- 
character of its style vanished after the middle of the 13 th 
century. Of the numerous well preserved Cistercian abbeys, 


perenne beebakt .¢aematune add oF biota at ge san avo 
aioe odd ae ytesbom bas ytiaevea Ieutatao ait aatbosoxs 
SHED ¢ 9 19079 ada 


- -atsomaqon sdf bas agelasavos fae rsttibd sag at dofanstxd a 
-basltessiwa bas stiteud .yasm199 «I 
af ods botteq eupsensmol sdt at beaub01g sausoetitors asated 
j ~10te8. is dove ,aoitsa asm1te) sdt Ytoieka, Sibaslag taom bas taod 
| eevieeiuo voiisas1 seem ew dadd .esénemgaom to sonsbacds 2nidat 
} ‘etoted eved ow aziweiid .tastioqmt saom adt vino aottashn of 
08 918 tao .sofsibaoo Isntixe tieds ak s2od¢ to wot aud an 
asi3q {sissostidois aistts9 ylao teat .Qntbirudss yd baaasdo 
to wety lateness sdt al .atkinzo tiedt to smis sad ot dosd stab 
“$8910 Iasaimorg szom odd Snolsd yasm1eD to tia supzensmod odd 
-atvota eaidh add —-‘eatewod Isiutossidors tas7a astds to anor 
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t bas BnOisthsis astgatvolasd of yimitt stedds ot sttasb 3 ba 
| &8f gommoo teo% .atusouise bas aslq bavo1g at 19b10 totate 107 
‘ thodo Hawot ditinw sotitasd beaqsde-aeo1 sdt to sayd¢ Lamroq odd 
7 


eis “TS 


add at atiogqse io sottsniesIe .eleta eeoto sd¢ ai 2eaqe sbte 
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8 asfeis sarevensid oldyob .extode efduob .antliss {stnogtaod 
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Ria) mfoda96ith ts IosdorW .3 to dowido gatdosm-doogs bas bas 
4 asta bfo ets tsdts siivdes assei .SSOI-1O0I ai situd .{ fa .8 
hh _ Efew odd bas .(00tt-S8tt) Isabedsso ond .S8it az botsorbeb bas 
wee Ika mi bisd9bo .2 to dotuds beteroosb yidott bas bsvieae1q 
ze boasts ai miot aeo1o elamte nl «(SR .8t8) JC avrre-ssrr) ated 
20. -(SSIf-OVOL) Sasdatibev® at doisdo agttabavot 10 slteso ond 
cine x9iq to aoissnietis elamte dtiw esdaomuaow 1olisma ans 
. Lia bebavot .abo19199 ts doredo odd beaotéaom sd o¢ s18 ame 
riettre) ae Sai Lioel ds dotodo yissesaom sdt bus .050 1894 
Liesd aoxs2 (ear0n edt to asfa aisttsa sit as tostel ads 
Ino bayolqme exe esotiiesd sean Loo ed = .(S .f ake) 


M 


36 
the monastery at Maulbronn in Wurtemberg furnishes the most fa- 
mous example, in regard to the equipment, indeed frequently e 
exceeding the original severity and modesty of the rules of t 
the Order. 


5. Extension in the different countries and the monuments. 
I. Germany, Austria and Switzerland. 

German architecture produced in the Romanesque period, the 
best and most splendid ageiof the German nation, such an aston- 
ishing abundance of monuments, that we must restrict ourselves 
to mention only the most important. bikewise we have before 
us but few of these in their originel condition. Most are so 
changed by rebuilding, that only certain architectural parts 
date back to the time of their origin. In the seneral view of 
the Romanesque art of Germany belong the most prominent creat- 
ions of three great architectural domains:~- the Rhine provin- 
ces, the Saxon lands end Westphalia. Everywhere are reflected 
the racial peculiarities of the occupants in the conception a 
and execution of the buildings. : 

The Saxon provinces at first took the lead, just as in poli- 
tical affairs, so likewise in art. In their works is express- 
ed a desire to adhere firmly to Garlovingian traditions and f 
for strict order in ground plan anc structure. Most common is 
the normal type of the cross-shaped basilica with round choir, 
side apses in the cross aisle, alternation of supports in the 
nave and two massive western towers. To the basilicas with 
horizontal ceiling, double choirs, double transverse aisles a 
and an alternation of two columns with one pier belong the gr- 
and and epoch-maching church of S. Michael at Hildesheim (Figs. 
8, 41), built in 1001-1033, later rebuilt after the old plan 


'2 and dedicated in 1186, the cathedral (1122-1190), and the well 


preserved and richly decorated church of S. Godehard in Hildes- 
heim (1182-1172). (Bis. 42). In simple cross form is arranged 
the castle or foundation church in Quedlinburg (1070-1129). Of 
the smaller monumennts with simple alternation of pier and col- 
umn are to be mentioned the church at Gernrode, founded in the 
year 960, and the monastery church at Hecklingen (1117-1170), 
the latter as the pattern plan of the normal Sakon basilica. 
(Figs. 1, 2). Pure columnar basilicas are employed only by t 


SE of it 
4 a 
pene : 


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| + [sap to aefets dtiw) mot {isd ak esautouats 1siq ylsveom 578 
| at vines “i9v wooo dadd ,stivav eeoro doiw (SL skeq sedated 
~ gamodt96a4 ts eusmolodtie® .2 to Leqsdo baaoitaem ybserie ads 
i. ~a2079. sie asbarM bas. atodisbs9 te e@letbedtso od? .(MD 2389) 
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ode: d3fa s yd bnooee edt bas .wol s yd botevoo ei xtedo oct to: 


37 

the monastery church at Paulinzelle,(founded 1105), yet remain- 
ing in picturesque ruins, and the canons’ foundation at Haers- 
leben (founded 1112). Pure pier basilicas are the cathedral 

at Bremen (about 1050), the Liebfreauen crurch at Halberstadt 
‘(besun 1135), and the beautiful foundation church at K6nigslu- 
tter (begun 1185), of which the choir and transverse aisle are 
already covered by cross vaults (without ribs). Aside from 

the cathedral at Brunswick (1173-1194), a vaulted pier basili- 
ca with restricted ground plan and still purely Romanesque fo- 
rus, a complete vaulting was first received by the buildings 

of the transition style, which indeed retained the restricted 
system of ground plan, and likewise the round arch in the por- 
tals and windows, but otherwise introduced the pointed arch 

and the decorative innovations:-- the cathedral at Naumburg 
with double choir (middle building dedicated 1242), the cath- 
edral at Halberstadt (1181-1220), the biebfrauen church at Arn- 
stadt, the cathedral at Magdeburg (begun 1209), whose structu- 
re already appears entirely Gothic, and the cathadral at Frei- 
berg-i-S, but of which only the famous “golden portal” with t 
the masterly and formerly gilded statues was saved in the Goth- 
ic rebuilding. Among the Cistercian churches erected in the 
ancient Saxon soil is most interesting that of Riddagshausen 
near Brunswick, dedicated in 1278} (Pig. 39). The outer aisle 


°, of the choir is covered by a@ low, and the second by a high sb- 


ed roof, so that the choir end shows three roofs like terraces 
rising above each other. 

In Westphalia the buildings take a course directed toward t 
the simple and practical, that first of all regards the fulfil- 
ment of the nearest needs, with solid construction and without 
plecing great value on ornamental accessories. The churches 
are mostly pier structures in hall form (with aisles of equal 
height, pege 12), with cross vaults, that occur very early in 
the already mentioned chapel of S. Bartholomaus at Paderborn, 
(Page GM). The cathedrals at Paderborn and Minden are cross- 
shaped hall churches, the former with rectangular enclosed ch- 
oir, the latter with a Gothic choir. fhe imposing cathedral 
at Soest was originally a pier basilica with a horizontal ceil- 
ing, but still received its vaults in the Romanesaque period. 


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A PRs ¢ Lam \ J ah, Pau Te? 


38 
Among the Westphalian buildings of the transition style stand 
in the first place the cathedral at Osnabrtick (1256-1291), a 
vaulted pier besilica with octagonal crossing structure, the 
cathedral at Ménster (1225-1261), likewise a pier basilica in 
the restricted system with double choir, the magnificent chur- 
ch of S. Reinold in Portmund (cross-sheped basilica), and am- 
ong the Cistercian designs the severe monastery church at Mar- 
ienfeld (1222). 3 
fhe Rhine provinces, in which blessed region the Romans once 
developed their art end civilization, on whose soil only orig- 
inated flourishing and populous cities, likewise brought Roman- 
esque architecture to its most splendid development. Here in 
a people particularly favored by nature were cembined an elev- 
ated spirit of a religious tendency with a civic sense ef enj- 
oying life, that pressed towards artistic activity and embodi- 
ed its grand architectural ideas in works of highly monumental 
form and the richest equipment. From the early period date t 
the abbey church at Limburg-a-H (about 1084) and the foundati- 
on church at Hersfeld in Hesse (about 1040), both horizontally 
covered and specious columnar basilicas, today remaining only | 
in ruins. The best period was introduced by the chief works 
of Romanesque art, the great cathedrals of Spires, Mentz and 
Worms. They are entirely vaulted in accordance with the res~ 
tricted system of the Romanesque, but were erected as horizon- 
tally covered basilicas in their first design. The cathedral 
{fof Spires precedes in time, at least in its existing form.It 
was erected by the emperor Heinrich IV in place of an earlier 
structure (built between £030 and 1060) between 1080 and 1100 
as a cross-shaped basilica with western vestibule, an unusual- 
ly large nave with seven bays in the widdle aisle (Figs. ra 
43), a roomy crypt as a burial place for the Salic dmpertak 
house, two domical towers (over the crossing and the vestibule), 
and four slender square towers in the eastern angles of the t 
transverse aisle (Fig. 17) with the vestibule and nave. The 
clarity and beauty of the proportions of its masses and the 
grand and spacious effect of the interior is attained by neith- 
er one of the other two cathedrals. The cross vaults were st- 
ill executed without ribs on the cathedral of Spires. The rib- 


2 . tile sariti' wh at to {atheddso edt at ativay baddig 
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39 
ribbed vaults in the cathedral of Mentz were first added at a 
later time, which may be determined from the form of the piers 
not intended therefor. It is highly probable that this was al- 
so the case on the cathedral at Worms. The cathedral at Mentz 
was erected from 1081-11387 in place of an earlier structure, 
already existing from 778 to 1050, as a cross-shaped basilica 
with a shorter nave (five bays), western choir and small crypt, 
two massive domical towers and four smaller polygonal flanking 
towers.(Pig. 44). Likewise the cathedral of Woriss had ae precur- 
sor in a building erected from 1000-1025, but was constructed 
in its present form from 1171-1234. It is also arranged as a 
cross-shaped basilica with doubled choir, the nave with five 
bays, without a crypt, but having two polygonal and four round 
flanking towers. Its external appearance has an extremely gr- 
and and picturesque effect. 

With the most prominent Romanesque buildings of the Rhine p 
provinces is also reckoned the Benedictine abbey church at ba- 
ach near Andernach, a cross-shaped pier basilica with western 
choir (1093-1156), before which is placed a“paradise”as an en- 
closed uncovered portico, and with six towers, in plan and st- 
ructure a boid and noble work (Bigs. 6, 45). The picturesque 
minster at Bonn also has a doubled choir. The beautiful pari- 
gh churches at Andernach and Sinzig exhibit galleries over the 
side aisles, have round arcade arches between pointed cross 4 
arches. 

Phe church of S. Castor in Goblenz (1157-1201), a pier basi- 
lica with four towers, is vaulted in the restricted system. f 
>, Phe parish church at Boppard (about 1200) has in its middle a 
aible a pointed tunnel vault subdivided by cross arches. Opp- 
osite Bonn and on the other bank of the Rhine stands the beau- 
tiful church of Schwarzrheindorf (1149-1151), that affords an 
example of the generally common type of the castle and fortre- 
ss chapel, while it exhibits two stories On théssame sround a- 
rea, that*S connected by an opening in bhe ceiling. The upper 
story was intended for the nobles, the lower being for the ser- 
vants or even a tomb chapel. In Cologne, the ancient Roman ¢ 
Gity, several important churches originated with peculiar and 
the richest treatment of the choir and transepts. At S. Maria 


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40 
im-Gapitol (dedicated 1049), the church of the Apostles (seco- 
#éd half of the 12 th century) and Great S. Martin (dedicated 
41172), the chdni, plan approximates to the central system, whi- 
le the arascofuthe crosscalsostermihate in apses (as at the 
church of the Nativity in Bethlehem; see volume 1, page 162) 
and the side aisle extends around as the choir aisle (Fis. 46). 
S. Gereon appears entirely as a decagonal central building, t 
that was extended in 1069 by an elongated choir ending in sem- 
icircular form. The church has a splendid and spacious crypt. 
hikewise at the church of S. Quirin at Neuss, built after 1207, 
is repeated in the eastern portion the triapsal ground plan of 
the first mentioned churches at Gologne. Its windows exhibit 
peculiar forms, the fan, trefoil, and the like (Big. 47). It 
is the prineipal work of the transition style of the lower Bh- 
ine, which was particularly accessible to such innovations. 
As the chief buildings of the transition style of the middle 
Rhine and of Hesse are to be mentioned the great cathedral. at 
Dimburg-a-L. (1213-1342; Figs. 9, 16, 37), a cross-shaped bas- 
ilica with round choir ending end inner choir aisle, in which 
the galleries and triforiums have pointed arehes and are cont- 
inued above the side aisles, together with the magnificent pa- 
rish church at Gelnhausen, equipped with the ri¢hest ornament 
al work. 

In the region of the upper Rhine, the minster at Basle, erec- 
ted in 1185, a vaulted basilica arranged in €ross form on the 
restricted system with five aisles, a choir aisle and two wes- 
tern towers, is recknoned with the best creations of the tran- 
sition style. Likewise the two principel works of the Gothic 
period, the minsters at Freiberg-i-B. and at Strasburgsvi-E., 
the beginnings of the structures still belong to the Romanesa- 
we period, the transverse aisle and the eastern towers of Frei- 
berg minster, from the first half of the 13 th century, and of 
Strasburg minster, the entire eastern structure, begun in 1179 
and finished about the middle of the 13 th century, with the 
double portal represented in Fig. 48. 

In Alsace the Romanesque buildings exhibit the German traits, 
much permeated by French and Italian influences, with an earn- 

i) est and heavy character. fhe church of Ss. Peter and Paul at 


on 2 Pa ee 


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44 
Rosheim, dedicated in 1049 but restored in the 12 th century, 
strongly recalls Tuscan works by its western facade without 
towers but subdivided in round arched galleries. Otherwise 
the Alsatian churches are mostly cross-shaped pier basilicas 
with a& crossing tower, two square western towers, between whi- 
ch lies a gabled portico, Brequently with rectangular choir 
and luxuriant ornamentation interwoven with fanciful animal a 
and human forms. The abbey church S. Murbach (1216) exception- 
ally places two towers over the two arms ef the transverse ai- 
sle. The normal alsatian type is presented by the earnest ab- 
bey church of Maursntnster, the well preserved church of 8. F 
Biles at Schlettstadt, and the richly treated church at Gebwe- 
iler, in which the transition style appeared quite early (it 
was begun in 1082). 

In Swabia and Bavaria, Romanesque buildings permit the recat- 
nition of an independent style-forming power, less in the cre- 
ation of the interior than in the decoration. In the churches 
outside the influence of the Hirsau and Gistercian schools of 
architecture the transverse aisle was frequently omitted. On 
the contrary men liked to place two side choirs beside the ma- 
in choir and emphasized the eastern side by the towers erected 
there. In the ornamentation occurs a luxuriant though noble 
expression of forms in a richness rivaling the Barocco concep- 
tion with wonderful animal and human figures, which are perha- 
ps to be regarded as profound symbols. The ceilings remain 
mostly horizental; only at a later time was vaulting decided 
upon. fhe cathedral at Augsburg, a pber basilica with double 
choir, a western transverse aisle and two eastern towers, dat- 
es from the first half of the 11 th century, but was later mnu- 
ch rebuilt. The cathedral at Freising (1160-1205) is famous 
for its its crypt adorned by fanciful sculptures. Regensburs 
is the richest city of south Germany in Romanesque churches. 
Its most important monuments are:-- S. Emmeran (1020-1052), a 
plan with double choir, double crypt, and a magnificent clois- 
ter lying beside the church, the upper minster, and the Schot- 
ten church (S. Jacob), derived from the Hirsau school and well 
known for its rich portal. (Pig. 49). The Swabian monuments 
are distinguished by Sreat richness of ornament. In Hirsau w 


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was erected in 1059-1071 the church of 8. Aurelius, and beside 
it in 1082-1091 the church of 8. Peter as the mother church of 
the Hirsau congregation. These were followed by the abbey ch- 


’¢ereh at Alpirsbach (founded 1095) and the foundation church at 


Bilwangen, begun 1146 and completed i233, influenced by the ec 
cathedral at Worms, the first basilica of Swabia, that was com- 
pletely vaulted. To the transition style belongs the pretty 
chapel of Walderich at Murrhardt (Fis. 50). The minster of 
Schaffhausen likewise exhibits the Hirsau scheme, end also the 
minster at Gonstance (1054-1089), later transformed éntirely 
into Gothic. The Gistercians had in Maulbronn in Swabia, in 
Bronnbach near Wertheim and Ebrach in Franconia their most im- 
portant settlements in south Germany. The plan of the monast- 
ery ef Maulbronn is more fully described in the second Chapter 
(gig. 186). Of the many churches on the island of Reichenau 
belonging to the early veriod, the minster at Mittelzell is a 
stately pier basilica, the smaller chureh of Qberzell (Big.3) 
being a columnar basilica. In the parish church at Reichenha- 
11 and the church on the setersburs near Dachau occur the alt- 
ernation of supports. In southern Bavaria are also to be men- 
bioned some hall structures, among them being the Benedictine 
church at Pr#l near Regensburs, dedicated 1110, one of the ol- 
dest completely vaulted churches of Bavarie. To the transiti- 
on period is referred the older portion of S. Sebaid in Nurem- 
berg, dating from the first half of Bhe 13 th century. The 
most splendid creation of Romanesaue art in Baveria and in Mid- 
dle Germany is the cathedral at Bamberg, whose first building 


29 was dedicated in 1012. In its place and after a fire in the 


year 1081 was erected a second building, dedicated in 1111. 
Mhe existing third structure (Pigs. 51) originated between 1192 
and 1287 as a cross~shaped vaulted basilica with double choir, 
on which may be recognized manifold influences of Rhenish buil- 
dings. In Switzerland, next to the minster at Basle, the most 
important churches are the great minster and the Frauen minst- 
er at Zurich, simple and severe buildings with rectangular ch- 
oirs. 

fhe Austrian provinces adhere in church architecture to the 
south German type of plan without transverse aisle, with three 


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43. 

eastern apses and two facade towers. In the richly treated c 
columnar portals and the architectural and ornamental treatm- 
ent is frequently expressed the influence of the works of upp- 
er Ttaly. In the church of S. peter at Salzburs (1131) was in- 
troduced by Saxon Augustinian canons the alternation of suppo- 
rts (of two columns between two piers), that also found imita- 
tion in other structures. The beautiful monastery church at 


/oSeckau (Steiermark), built 1142-1195, appears to be influenced 


by the Hirsau school (see Big. 52);the rich ribbed vaults were 
built leter). As a chief work of Austrian-Romanesoque art is 
to be designated the noble cathedral at Gurk, a stately three. 
aisled pier basilica with transverse aisles, that does not pr- 
oject beyond the side aisles, and a splendid crypt, whose cro- 
Ss vaults rest on a hundred marble columns. To the transition 
style belong the abbey churches at Trebitsch and Tischnowitz, 
exhibiting a rich decorative magnificence, and the Cistercian 
monasteries of Heiligenkreutz, hilienfeld and Zwetl. 

En the north German lowlands, in the lack of a more suitable 
materiel, the earliest Romanesque churches were built of frag- 
ments ef the erratic boulders found scattered there (foundling 
stones), partly also in imported tufa (like the centrad struc- 
ture of the church of S. Michaelis at Schleswig (about 1100) 
or in sandstone (as the cathedral at Saveljerg; 946-1170). Ab- 
out the middle of the 12 th century and under influences from 
Holland and upper Italy, men advanced to the brick constructi- 
on already described on page 16, for which by a proper treat- 
ment of the material were found the most suitable art forms, 
so far as they were not already known from foreign nodels.From 
upper Italy was brought the trapezoidal capital (Pig. 23 B) 
among ether elementary forms, which however retained an abacus 
of sandstone. (its peculiar form must otherwise have resulted 
of itself from the direct transition of the circular shape to 
the square slab). The need of other ornamentation was satisfi- 
ied by friezes with consoles, interlaced round arches, bricks 
set diagonally (Romanesque dentils) and slightly projecting m 
moulded bricks, with the decorative treatment of the facades 


4) by strongly accented alternation of joints. Among the monume- 


nts stands in the @irst rank the monastery church at Jerichow, 


o i 
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44) 
built 1147-1152 (near Tangermunde), a three aisled, cross-sha- 
ped columnar basilica with horizontal ceiling (fis. 53); furth- 
er the great cathedral at Ratzeburg, begun in 1178 as a regul- 
ar cross-shaped pier basilica with rectangular side choirs, v 
vaulted on the restricted system without daagonal ribs, and t 
the cathedral at Liibeck,. founded in 1173 as a Romanesque choss 
basilica, later transformed into a Gothic hall church. The m 
monastery churches at Diesdorf (1161-1188) and at Arendsee are 
cross-shaped vaulted basilicas in the commencing transition s 
style, whose latest climax is represented by the beautiful Br- 
andenburg Cistercian churches at Chorin and at Lehmin in 1182- 
1262. (Big. 15). 
II. Seandinavia. 
$n Scandinavian lands Christianity acquired full control fi- 
rst in the second half of the 12 th century. The churches of 
the southern erchitectural domain, in Denmark, on Zealand, the 
island of Gotbland in southern Sweden and Norway, were chiefly 
dependent on German stone construction; thus the cathedral at 
Ribe (dutland), begun in 1176 and treated in the Rhenish style, 
as well as the cathedral at Roskilde (Zealand), built after 
1191 and following French and German influences, and the state- 
ly cathedral at Lund (southern Sweden), dedicated 1145 but on- 
ly completed about 1200, a vaulted normal basilica of the Ger- 
man kind with transverse aisle, two facade towers and peculiar 
northern ornamentation, that perhaps is permeated by Byzantine= 
Grecian forms. (Bis. 54). On the island of Gothland the hall 
type is at home. It is represented by the churches at Dalhan, 
dedicated 1209, and at Wisby, by S. Clemens, S. Brotton and t 
the cathedral. (pedicated 1225). On Bornholm, in southern Swe- 
den and Jutlend remain still a considerable number of round s 
stone churches, consisting of a circular central building in 
several stories with middle pier, annular vaults and an added 
choir. They refer back to the prehistoric Serman round castl- 
es and were fortified for protection from the piratical incur- 
sions of the Vikings. * In Norway’s stone architecture the En- 
Slish-Norman influence predominates, to which refer the heavy 
round piers, the folded capitals, and the zigzag ornaments of 
4¢the archivolts. (Fis. 78). The cathedral at Stavanger (1128- 


ad 


. 4 (200) .gatites Istaosttod dtiw sotitasd s et (OB8Et 
neas ots qino .gisutonse Lenotsen astgowroll sat .wtadsaore Js 
- repreeenenaaagad sdv o¢ Snoled {itse wettose eit bas slats se1ev 
pos a ‘, borted 
“=99%to sad settataonom taom {o siusolome edti-ssaas4o) edt * 
@ wlaNds oesuadtd .88t sanq (1 saslou na of b34se {st mess yb 
«~~ SA8G stow ys batasoga elineuces) Beets eA4 nd ssdonwdio agaiiis. 
“Ob TeUot At Lo Nodiourtendso o WS SBnetek 40% baaqiunos ast to 
SAT HSVE .sensieb Yo Bidoqso $3 ombdom esnentas At eattons 
. “StAtis bebulont yltnswpes| 83 Aosudd OAT Quddrucrwius yratomso 
ci, wate: LHOETSOSTES4MOY Yo SatA vias 
a abba od¢ yd dis asiventonsoS at neiss at sosla otausasa A 
 ~bas yswiok af bevaseexq [Lite 918 dotaw to CS suods .astiousio 
inte (.(000D su0ds) genni) 38 Qated sassxoqsi seom add .a9bSw2 
to bas) Isbtossib ,(vacdueo dt SE ods Yo tien ¢a1tt) basarod 
_ #9 rasa Lisdersied of borresteasas wor) [09 te .(vweaso as St 
vera oF BOSE ai betrogersas stds .(aneV) ansW ss bas (sasteets 
bevseesig et meds al .antstavom sx asteolie ada at 3redasiob 
-eolevsi Inotvooxtanoo to shom oftvale bare meuged evisiataq adr 
ottemtfo edt bas [siietsu eds of 3nfbaogesti09 siy¥te es otat be 
(mort Seviteb nead eved oF a1ssqGs A10T (saed etl .enorstbaos 
“ov ti sud .(86f eseq .leawuiov) slames bus seuod aiedsa0m sdt 
“te bas swedoe. neotliasd said so1t eeoneeliat bevisost yiase yt 
: alesiaso to emz0i sdi ai 1ssqqs vbgexls dotdw Leastossidous ono 
" .REB) asia bavo1g oot .( 3S L224) 20eneD so douse tacblo add at 
 dhtdeos betiiso! moos isgionisg staspe yfsusen 8 to atataaoo (83 
i “37098 dofin bavows .etasm siti eingis asboow vd beeoloas dns 
Sait to asiq odd ataoeetgs1 tant .eaebie awot ifs a0 ebnecxe oot 


ae i aie 


4 


 -geamt atda bavora -9208 08 af Safdus ytisasasa  leqede yfons 
ee bedsows ef) atd? .“aasgelave” sda .etelise wel s ens woot 
_ soutte Istiog yd dsdism af dns sbersteuied dtid yrolls: tisnh s 
 @ to besourteanoo 516 efisw sdf .esonertae seadd ond ts este 

mo ,9bie yd sbhie tee etaoa Lsosits1i90 to 10 eisdmis [sdnoztuod 
edt bas yewrok al .amesaye dtod aatatdmes daow asdats tied at 
8 at dnd .eocsaimobeaa boston {soidieyv sade eo0nivoig atedeow 
_ -f£iedai-seds al .aeteya I[ssaosisod eds ea0ms8 atedass bas agbs 
i hier autiies Issaostted s 10 sidtetv atemox evestss edt 40 © 


| Sisupa ileme odd sett sonsatiae nism sit eateoaqd  .asizis abia . . 


Pee 


45 
1150) is a basilica with horizontal ceiling. Of the cathedral 
at Brontheim, the Norwegian national sanctuary, only the trans- 
verse aisle and the sacristy still: belong to the Romanesque p 
period. | 

* The fortress-ltke enclosure of most monasteries has alrea- 
dy been referred to in volume 1, page 188. Ltkewtee simple uv 
village chwrehes in the times frequently agatated by wars were 
often equipped for defense by @ construction of the tower dom=~ 
inating the entrance, making tt capable of defense. ven the 
cemetery surrounding the church ts frequently included within 
this kind of fortification. 

A separate place is taken in Scandinavian art by the wooden 
ehurches, about 80 of which are still preserved in Norway and 
Sweden, the most important being at Urnaes (about 1090), at 
Bersund (first half of the 12 th century), Hitterdal (end of 
12 th century), at Gol (now transferred to Oskarshall near Ch- 
ristiana) and at Wang (Vang), this transported in 1844 to Br- 
iickenberg in the Silesian Erz mountains. In them is preserved 
the primitive Genman and Slavic mode of constractionl develop- 
ed into a style corresponding to the materiel and the ciimatic 
conditions. Its basal form appears to have been derived from 
the northern house and temple (volume 1, page 168), but it ve- 
ry early received influences from the basilican scheme and st- 
one architecturel which already appear in the forms of capitals 
in the oldest church at Urnaes. (Fis. 55). The ground plan (fig. 
56) consists of a nearly square principal room carried up high 
and enclosed by wooden trunks like masts, around which a port- 
ico extends on all four sides, that represents the plan of the 
Side aisles. Opposite the main entrance lies the small square 
choir chapel, generally ending in an apse. Around this inner 
room runs @ low gallery, the “svalegang”. This is treated as 
a Gwarf gallery with balustrade and is marked by portal strue- 
tures at the three entrances. Phe walls are constructed of h 
horizontal timbers or of vertical posts set side by side, on 
in half timber work combining both systems. In Norway and the 
western provinces the vertical method predominates, but in Sw- 
eden and eastern Hurope the horizontal system. En the interi- 
or the rafters remain visible or a horizontal. ceiling is arr- 


P| ab 
out | aataivaed te aniddasde otf -8 fusy 8 aeve 10 ,bsaastI8 
weottene od? .gidea ede Io sottoss $949 sat alfsoe1 tadd . bot 
ohare lage edt to sno abuimer yltasupe1t drowboow 
_ -ot eupgetutota yiev to xi roivedxe od? .Ratblivd~qida ai nom 
--"9vo00 bas did yiev .sistosita susiona slbbim odd fantsah .mt 
0% bade edd eovsel deri .te1msd toot déiw toor sidea s yd be 
- -a9t ,tiodo odd bas (esieis ebie oft) yrelise s9a0i ad¢ 1ev0 to 
~da edd ,ansbelsve edt Io toor suownitaoo odd anisd wofod a9d¢ 
' ,esidsa iisue yo botadrz9esai Yated esoustius edt asvo0 atoom be 
_ gm 94% steissee bas Tie words o¢ betaqsbs yilaommoons siodw sad 
 wusato yd bsbictia ei tasqedni teo19 .(83 .ar4) .woas to aseae 
‘ at viistosaqes .sistouxse sds te edseq Isiosae ai baaiont adtas 
-fas usmisD dueionus sdt daotdw ai ,eletat{ bas edmst, Istaoq afd 
-teusixeat as at astau0 [eo1 miolisa aautosicetat based bas Len 
(NS .889) .moitaevait to dsisew oid 
soaet% TIT 

eect seanehth edt ai .¥asmieS af asdd yvloisde si0om [lise 
@ edt to esitiarevib Lanottaa sd¢ besaeaexe o1e sousi¥ to aa9 
9000 28W ilad anisdésoe sd? .aistostinows sapegensmod at slaosa 
beiusy .dota s beobsi baqolevsb esw susd? .soutvorq- asmoh a 
<oupitaa oft no Deesd ylios1id saw Gf tea ,tas eviaesiqxe bas 
~—« -BiaetTIw2 sostid yO Henedsdansste ylsneupest sisH atosits seodw 
evad ow tsdd .mwo ati Yo sistil to0 ed8m 02 bas .Je8a sdt wort 
d ed? .s2d0e TewoTted 943 94f eupesaemog 2s beisaatesb 181 a8 
boold asm1e9 vd detostis asw siedd nove noiseladgog yiesibiaed 
-{[sveb edt to enctsibaoo yissiag ect .sauasem Sdatle at ulao 
9d% otodT. .dnoteti£d ot)ew 990814 asedttoa ai s1s to tagade 


vd beteemieq .t18 supesensaonh odd siesds oefs eanat Oas notte 
_ Yo saiv0s o1ttaaodT .fioe olitisi s bawet, .aitiqe namied sas 
~+=¥a bositetosiedo si .vyasmis) af es .sons18 ai tis supconsmos 
.¥9 viseluotsisg baa .Barlieo saz to nottouxtagoo to badism ond 
9 af bedisossb yhsorls eved o# tsad Molsoursanos batfLosv sas 
| + baa. a9 bawo12 sid to ¢uomtestd Leten9a sas dtiw acitosano9 
ae (65 9389). .s0btedni odd 
ssicuiases et) 8B pened ecg ca 3d of 946 sons149 aisdtvos al. 

_ ~dowsdo sidstemev ba daetons odd --7eRaidies Istaosiaed dtin 
amo 6 , (152, ,8TL aessq .t eusloy 998) atuol.ad uisisl .2 to 


~{uqoqg edt io voisiog Jasaimobs19 eds demaot aasmiol. bas etlen 


ae meh Ae Uo Se a ee 0), te eT Seapets ig 
ot. 24 e iar Aare. i) Vs ha : a N -_ ee | er Py 
) a! ry ; so A _ ’ i ‘ d fa 


46 

arranged, or even a vault-like sheathing of boards is construc- 
ted, that recalls the ogee section of the ship. The entire w 
woodwork frequently reminds one of the wooden construction conm- 
mon in ship-building. The exterior is of very picturesque fo- 
rm. Against the middle nucleus structure, very high and cover- 
ed by a gable roof with roof turret, first leaves the shed ro- 
of over the inner gallery (the side sisles) and the choir, fur- 
ther below being the continuous reof of the svalesang, the sh- 
ead roofs over the entrances being interrupted by small gables, 
the whole uncommonly adapted to throw off and separate the ma- 
sses of snow. (Fis. 55). Great interest is afforded by ornam- 
ents incised in specisl parts of the structure, especially in 
the portel jambs and lintels, in which the ancient German ani- 
mal and band interlacings perform real orgies in an inexhaust- 
ible wealth of invention. (Fis. 57). 

III. France. 

Still more sharply than in Germany, in the different provin- 
ces of France are expressed the national diversities of the p 
people in Romanesque architecture. The southern half was once 
a Roman province. There was developed indeed a rich, varied 
and expressive art. But it was directly based on the antioue, 
whose effects were frequently strengthened by direct Gurrents 
from the Bast, and so made but little of its own, that we have 


/. go far designated as Bomanesaue in the narrower sense. The h 


| heriditary population even there was affected by German blood 
only in slight measure. The primary conditions of the devel- 
epment of art in northern France were different. There the 
gelts and Normans formed the predominant portion of the popul- 
ation, and thus also there the Romanesque art, permeated by 
the German spirit, found a fertile soil. The entire course of 
‘Romanesque art in France, as in Germany, is characterized by 
the method of construction of the ceiling, and particularly by 
the vaulted construction, that we have already described in c 
Gonnection with the general treatment of the ground plan and 
the interior. (Page 13). 

In southern France are to be mentioned only a few basilicas 
with horizontal: ceilings:-- the ancient and venerable church 
of S. Martin én Tours (see volume 1, pages 176, 181), a cross 


a Ae en z 

[fined Ntenbid Yedds oat SC ai besiroteer ,2eleis svit dtiw sorittesd 
| ,Bno0ktesto adidem-dooas ows .(88 oaeq) I8@ bossotbsb .ynuld to 
+s Satbotdqd .2 bas .berseqasetd ylortdas seomis eved dotdw sud 
 » te Danbedtso edt to shaost sdt yd dsonssfini aids .c1sizsd ta 
 <esv feanus oda dtiw ni soa gaitiesy biswotd saelugqmi sd? .satG 
- gobdw kaoms .(Sf sas0 soe) oleis sfRate 8 to dovwdo [lsd bet 
sit to bus sdt tuods) aondgivA te sueG sito to Isibadteo add 
—wolgo? to Is1bedtso evotoacs baa bases ede bas (yasdas0 ag tt 
 “gom tod .yawtass dt SPons to Qutaatked odd ts boonsmaoD 92 
10" tnetioant teom sit Ineszo1ges .slvte siua sdé ak hetslamoo 
=79 edd .(Sf sasq eee) sinetivod to asdorwsio bewob odt YO ed 
od bas Oolats sibate .t{usivetnoW to donsdo yedds beasde-aco 
‘edd Gas .gsutase dt Si eda to Tied bnoose edd 93 bsxaater 5d 
ed? .(8a at) .Sasfeadqme od et ets emetsoknd to [sthedtao 
~im ed? .eldssistefmay stedd ef sdvow saittnexvS to soacoultat 
-sq yleritwe (S8iP 19¢2e) xoopzive@ te tno1G .S to dorsdo yond 
~etls somob svii déiw swsdoe [emion eattassy§ eds of 18v0 Bses 
-9ofasV ai oo1sh .2 vd dssaohe vbs 

~iedee ai Bavot sis esdowsdo belets slkate aosdt vyilaommon 310M 
dts tetos0h .2 .sedersds Iisd beaivev [anos sat so087F ars 
-aud asluottoiwse lodiarsa 9o1dd yd betevon ei (R38 229) eaiaed 
“og 918 slats slboim sda ai tod .eelats site sit at etivay fea 
at agebae19 ts 2edoigdo off .eaisev fonast bas asdors betar 
# af etinevy (sacus tied tidtdxe ebtovtvaos ss bas baslreadiws « 
gs eed Lite semr0t sas oleis ofbbim sdt at :eeleie sbte sda 
_ iusv edt as dows botatog s ybsetls 199981 adt dud .so1s bawor 
bseile esieis sbie edt afvec .2 to dowdo siz al .aail ware 
~ftod te siast2 si omed sito at seiwedtt bas etiusvy egono svad 
fsanat eff .obsost asiiveosa esi sob esometd .(08 1.254) exerted 
~gofeveb bibnolas s fhoset estisfis& dvtw esdouwsde {Lad batinuev 
& ,hbastist-sasue{9 se s10% vb oasd estoW wf enkisveA at tasm 
-1f0 bas slets isamuloo dtiw asia dslets sent bas beqsde-acoro 
 -wev fonnut tied bas tewof ods nt etiosy aeo1o .afsqedo to slo 
vo mob botes1t ylevteasm ea buns .esfats ebte asagy sdt at atl 
.(26 229) ostogel te InsG .2 wi t9d7x9t offs .antezoto sat 16 
| ao suse oi¢ isdis setke6 tsdgid ar es {isw 2a 
t wort) ssvoivot ts (euntnwes®) cinte8 .2 to dowao isasolos 
" ooniit) bas: even befets svit datw sited sey .{yawdaso at St oat 
wh -2iqeaasat belats 


47 
basilica with five aisles, restored in 997, the abbey church 
of Cluny, dedicated 981 (pase 28), two epoch-making creations, 
but which have almost entirely disappeared, and S. Aphrodise 
at Beziers, this influenced by the facade of the cathedral at 
Risa. fhe impulse toward vaulting set in with the tunnel vaul- 
ted hall. church of a single aisle (see page 18), amons which 
the cathedral of Notre Dame at Avignon (about the end of the 
141 th century) and the grand and spacious cathedral. of Foulou- 
se, commenced at the beginning of the £3 th century, but ‘not 
completed in the pure style, represent the most important wor- 
ks. @f the domed churches of Aquitania (see page 18), the er- 
oss-shaped abbey church of Fontevrault, single aisled and to 
be ref€rred to the second half of the 12 th century, and the 
cathedral of Angouleme are to be emphasized. (Pig. 58). The 
influence of Byzantine works is there unmistakeable. The mi- 
Shty church of S. Front at Perigueux (after 1122) entirely pa- 
sses over to the Byzantine normal scheme with five domes alre- 
ady adopted by S. Marco in Venice. 

More commonly than single aisled churches are found in south- 
ern France the tunnel vaulted hall churches. S$. Honorat at L 
Berins (#igs. 59) is covered by three paralbel semicircular tun- 
nel vaults in the side aisles, but in the middle aisle are po- 
inted arches and tunnel vaults. The churches at Grandson in 


J; Switzerland and at Fontfroide exhibit half tunnel vaults in t 


the side aisles: in the middle aisle the former still has a 
round arch, but the latter already a pointed arch as the vaul- 
ting line. In the church of S. Savin the side aisles already 
have cross vaults and likewise in Notre Dame la Grande at Poi- 
tiers (Fig. 60), famous for its peculiar facade. The tsnnel 
vaulted hall churches with galleries reach a splendid develop- 
ment in Auvergne in Notre Deme du Port at Clement-Ferrand, a 
eross-shaped and three aisled plan with columnar aisle and cir- 
cle of chapels, cross vaults in the lower and half tunnel vau- 
1lts in the upper side aisles, and a wassively treated dome ov- 
er the crossings, also further in S. Paul at Issoire (Fig. 61), 
as well as in higher degree after the same arrangement, in the 
colossel church of S. Sernin (Saturninus) at Toulouse (from t 
the 12 th century), yet built with five aisled nave and three 
aisled transepts. ) 


f ,. rin ve ee ad T 2» a ee ot F _— q 


ny soith at swtdaor? 2 bas ru sedeue-dtsct ar tuys .@ yd ho F 
,bedors bavot divin temrot sds .yisdneo dz St sdt wovt antesb : 
euidgox? .2@ .etivay [oanut bedors begatod ustw redisl edt bas 
bearebs yidota .istixoq Lytittuesd oft yd awond {flow wt asiad at 
-aisoeh ylise os to inow edt 9d of skbwt sw sadd .asusdaluoa yd 
-n0e to yvdsaow at (Sff2 nuged) eeffi® .2 to dorsdo off sons 
edt svods aslusy beddia to sons1iv0o00 ylass odt aot motd¢sisbie 
.8 to Sedt oil sade etetioq Luittuasd eit yd es Lloew aa .sayz0 
‘© edt at ylerttas eongloo asidsaixo® dsiw potaers 2f sutdaort 
«waniD Yo dowdo yodde tess odd .ybngar0d ot .9anee Lsoteesto 
e800) aottulovex donsa® ods yd beyottesb vaw .S9OI-O80!l sling. | 
eit yd bewolfot esw sf .soasdtoqmt busbaste to esw dud (88 
to [stbedtso sat al .anoyd bas sonskV .anuseA to elerbedsao 
“ybaskiss sisdti00 at ysiessV to dotudo veddse sdv bas asxkaod 
-sV 28019 yd dSstasiogse osls suew adissv Lonnos ant .(8S sdaq) 
-seti® ts anstotssat) odd to dowsdo teitow eds oeiwadid .esia 
_ “§4t¢anoo sti to noitatneasiae1 toew100 A .esetxs asanol on xe 
.waSftinod te doisdo yedds sdt yd ew of aovre et (CS 98as8a) noido 
esw tfono beeolons viasiuenetos1 seodw gud ,OGIL tuods dSetoers 
‘9loito bae sleis dtiw .sao Isnoayloa s yd OSil tuods beoslaqet 
-sb etigsy e201 beddia edt asia vtodo aids dsiW .aleasdo to 
-smsse1s Ostsvds19 viluteiso ods bne: .yttussam [isi of bogolsy 
9 afidt .adia to metaye sdt dviw sonsbi0005 at assta odd to oa 
 Jelyda aorttencis tesael six to aissm ade Ila arsed dowdo 
Séqye weotitesd edt alisveia sonsia ateddroa at sisdwyieve 
00 vilenotesooo ylno eedowdo belets efaate bas sedovedo [Led 
agatites Istnoxsitod sd? .enkiesd t9a2qel odd nt tanel ss 179 
-Vistaso dt SI odd to t9odsaHp seel sd at [idan bsatetar ase 
ts svit dtiw (Sd0l-200D)emisdh ts yas 28 to dousdo ¢s978 adm 
to sforto bas sleis tiodo ,atosens1s belate ssidt evan bela 
-wety oF aego Toor edt To dxonecomh edd esveel {tte .eleqado 
Won ,eskeimu$ to dowudo yedds sd¢ bsd oafs eant{feo Lstaoxtrod 
eanneloo hue ereta détw .atux evieestaxe as es yflao aaiatemer 
yedds tes1& odt oals base ,xsunsa conse add aszis oofrtansetis 
werseee dotdu sassd ts onnets? .2 bas stinta® .6 to asdorsdo 
Li i (4S  OOBE saode .ts¢eL etLusy agorts bevteoes 
‘sasarol oat to ysivitos [sifcetiaow tss1k sdz OGOL tuodA 


. 


48 
fhe tunnel vaulted basilicas of Provence are best represent- 


‘ed by S. Paul in Trois-Chateaux and 8. Trophime in Arles, both 
dating from the 12 th century, the former with round arched, 


and the latter with pointed arched tunnel vaults. 8S. Troephime 
in Arles is well. known by the beautiful portal, richly adorned 
by sculptures, that we judge to be the work of an early Renais- 
sance. The church of S. Gilles (begun 1116) is worthy of con- 
sideration for the early occurrence of ribbed vaults above the 
crypt, as well as by its beautiful portal, that like that of 8. 
Trophime is treated with Sorinthian columns entirely in the ec 
classical sense. in Burgundy, the later abbey church of Cluny, 


/ |, built 1089-1095, was destroyed by the French revolution (page 


28), but was of standard importance. It was followed by the 
cathedrals of Autun, Vienne and byons. In the cathedral of 


fongres and the abbey church of Vezelay in northern Bursundy 


(page 29), the tunnel vaults were also supplanted by cross va- 
ults. bikewise the mother church of the Gistercians at Gitea- 
ux no longer exists. A correct representation of its constru- 
ction (page 29) is siven to us by the abbey church et Pontisny, 
erected about 1150, but whose rectangularly enclosed choir was 
repleced about 1180 by a polygonal one, with aisle and circle 
of chapels. With this choir plan, the ribbed cross vaults de- 
veloped to full maturity, and the carefully sraduated treatme- 
nt of the piers in accordance with the system of ribs, this c 
church bears all the marks of the latest transition style. . 
Everywhere in northern mrance prevails the basilican sypée 

Hall churches and single aisled churches only occasionally oc- 


cur, at least in the larger designs. The horizontal. ceiling 


was retained until in the last quarter of the 12 th century. 
mhe great church of S. Remy at Rheims{1005-1049) with five ai- 
sled nave, three aisled transepts, choir aisle and circle of 
Chapels, still leaves the dmamework of the roof open to view. 
Horizontal ceilings also had the abbey church of dumieses, now 
remaining only as an expressive ruin, with piers and columns 
alternating after the Saxon manner, and also the great abbey 
churches of S. Trinite and S. Etienne at Caen, which however 
received cross vaults later, about 1260. 

About 1050 the great architectural activity of the Senses 


en 


BT cant spaces etew aedoasdo Dasani afedT .heoaemmoo: '. 


-sbiaed bewaitnoo aolais sbie edt ,wedaye besokisge1 odd mo aso 
_ To seas isisoxtoimse edt to Sutanized edt ot sisuea atodo odd 
~3 {Ie oved eeldie shige sdf .saeg0a beaolo neds bas arodo odd 
61s doftdw at ,asiasiiss asdte Sebastxe seeas svods dus .2eta 
~sdias® djin gamafod ifad tosio1g aista edt woul .awobainw add 
-otazeo edt al .amiot atsio bas dasntes ai asidsataoo exit al 
alsmins to absed dtiw asloenos Ilema bexowsi yllsiosqes s1s 2a 
~bimsiva daid s diiw Sateeox9 edt tevo of0 .exsKn0d ssxdT .ote 
-18 odd to toinesxe odd osamtas .3bsost sit so ont bas Ytoor Is 
<20asT4 atedtion to [ioe sdt no ytletsne8 .quo1re Laxutosatdo 
soasvbs Sigar A .ssomeulini asmied déiw beaeoto sis brsdmod 
-99 .& Bo dorsdo odt yossx1l4 .noisoursenoco badtiusv yd sosm at 
$ ak gad .VGIL bas S6II neswited besoaxs .elfivisdoaoS ts sa10 
e@ao019 beddia to asseye bsaoleveb yietsiqueo s siets slbbim add 
“is slhbim eds (GSIf suods) eisvased ge enneisd .2 oI .atluey 
indo od? .atlusveddoug beddia bedows basor yd bsteve9 ai sia 
-ot botatog oft esoubortai vbseals (OSI! teense) asatartd ta do 
| “iem198 .2 to dowde yedds od? .2edors seisvenszs oid 107 at 
“as betatog edd evolams ylevtewloxs (BALL tuods) 2tsyessd ree8R 
_ tdaim vyodT ..aliew eds at abotnego eds bas etiusv adi ak do 
tsdt gqsoxe ;bofieq dis dutbesooue edt o¢ bauatess od ybserls 
_9onte ,begolsvebau (Lisa et (GY eksq 99a) motaye easasiud odd 
sinempaom teéel sdt af jug .i001 sd4¢ deseansd belssoneo ai sk 
-anets yisnibiosisxs, Isda betostieq es OSll assis aarssatarao 
.medaye wea oft doidw diix ohPtAe has neivourteaoo ai woissm1ot 
-289N89mG09 OLdteD sdt to 
-vist= .VI 

<appknuad eas to ytotetd Isawtootidoys at taemevom 3se18 sd? 
w egosst atedtioa bas elbbim to abnsl asmisd edt at bofisq ov 
-20f4 sig baoved diQneqte sxisne est at batas{qensis Jon asw 
¢ ,e2gardlivd dowsdo déiw betiaase yidoia o2 ydasale esw yissl 
_wositbem to ysivitds sdt 10l bsaismes bistt sarsal dove on saad 
oi tus astietl betostts 29081 ntedda0n edg¢ setwesitd .s46 Is 
seom ,a9081 io o1utxim ods oc RakoSO008 sivesem [supsay qtev 
yd bersse1q yossils yess asaqqe to [toe sds ao viinteesooun 
asifsal odd io mobzatt asm10% ismi0t edt ak bas .ebisdwod sat 
oF Homoseuonos ,diaigeg Larstsn asaie9 edd gtodwyieva .dino2 


7 
citi 
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Pe eo ae ee 


49 
/>eommenced. Their normal churches were cross-shaped pier basil- 


icas on the restricted system, the side aisles continued beside - 
the choir square to the beginning of the semicircular apse of 
the choir and then closed square. The side aisles have galle- 
ries, and above these extended other galleries, in which are 
the windows. From the piers project half columns with capita- 
ls like corintbian in earnest and plain forms. In the cornic- 
es are especially fawored small consoles with heads of animals 
etc. Three towers, one over the crossing with a high pyramnid- 
al roof and two on the facade, animate the exterior of the ar- 
chitectural group. Senerally on the soil of northern France, 
Lombard are crossed with German influences. A rapid advance 
is made by vaulted construction. Already the church of S. Ge- 
orse at Boscherville, erected between 1154: and 1157, has in t 
the middle aisle a completely developed system of ribbed cross 
vaults. In S. Etienne at Beauvais (about 1125) the middle ai- 
sle is covered by round arched ribbed wrosbevaults. The chur- 
ch at Airaines (about 1130) already introduces the pointed fo- 
rm for the transverse arches. The abbey church of 5. Germer 
near Beauvais (about 1145) exclusively employs the pointed ar- 
eh in the vaults and the openings in the walls. They might 
already be assigned to the succeeding art period; except that 
the buttress system (see pase 79) is still undeveloped, since 
it is concealed beneath the roof. rut in the later monuments 
originating after 1150 was perfected that extraordinary trans- 
formation in construction and forms, with which the new system 
of the Gothic commences. 

IV. Etaly. 

Phe great movement in architectural history ef the Romanesa- 
ue period in the German lands of middle and northern Burope w 
was not transplanted in its entire strength beyond the Alps. 
Ttaly was already so richly supplied with church buildings, t 
that no such large field remained for the abtivity of mediaev- 
al art. bikewise the northern races affected Italian art in 
very unequal measure accorGing to the mixture of races, most 
successfully on the soil of upper Italy, already precared by 
the Lombards, and in the former Norman kingdom of the Italian 
South. &verywhere the German natural spirit, accustomed to | 


yf OR Pe oe ee 
CNS Rae ‘ 


al ne ene fsutittas biswod bent font bike fetstsa bas slomta ede 
‘ “ya a détw supitas {em10t .6ertisseq oft osnit stil wan Sdiavo1d 
vol asl .t18 asig¢etad) ylis® dsiw bentdmoo bas tovsli saicase 
~ofeesio eit dtiw beatdmoo amtot to sonsbauds bas tasmtseut at 
a8 Odat t1s to aoitason0o asiist] sdt ot asifvosg yousbust Ls’ 
-ait edt basd tedto odd so as taut .ynomisd stenusaot visme1txe 
ao betose1 azaidited astissl to eeeneawotosae sdail bas mobeg™) 
to estertoutte Azad bas sviceesm odd to dtaqe1te betosnaos sat 
-1sn0e80 sldei0vet teom sd¢ at baaldatron sdé 
~iw omsioz asotitasd eda bowolLot eetouwdo edz eeeso taom ni 
to daemtsext se1t s dtiw evanis tey .28f1sif{se tuodttw 10 dt 
/ 998) aefq bavo12 to w1ot-T sostoms ed? .mesaye bosointean sda 
_ -#ittei-geot edt ot bebnedxe ayswis toa asw (STI sa6q .f stiufov 
edg asvo <heiteaag benfemsx yitaespext siete ssisvenead ad? 
“89 es boote sewos [fed sd? .emob Lanoayfoa 5 sao0% Saresgors 
-ddiwetedt notsosnsoo ofnsa10 dpodtiw antbitud sag sbeged sei 
_ =ebisdwod al .stay1o edd badost asioqsdo asoauT ad? = .(S8 2a) 
eA .19amsm teedois edt at beqoleveh aaw ti yietI tswol bas 
| Gt cafe eewitemoe .oeu ni besnivaon axety bas eamuloo ad10caes 
~esloxe geomis ear tiusv. aeoi edd .g0ttlesvy 108 .norseniedis 
asqqu to asdo1vd9 smoe to aotsasoxs eat dtiw ,bovolana visvi 
oft bas 2ontitso {atnosttod teY .sonerF vd boonenlta: visal 
“evoiveig 4s 1ovst ai aisue1 ozis toor sid to Arowsasxt sldiaty 
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“a109 utsm bexstasdome ylaaorte sdé nt etosex gaatbliad supidas 
“ands us og bel sottowrtanoo asamuloo y0t sonaisterg sit eect 
af Baiiseqgs sabsosi to seosiisa ad? .emptrotiat to seu tasb 
-ofq betemias yitaguos1i asx aiswos to doal odd vd dv6iw saox2— 
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. -(8f .8¢9) .2esetat bus 
Seibhsons beiqooo sayt isd sdt .msotiteasd sit esbieag 
at yltetdo asdoiwdos ytinummoo at bavot sta anelo Leataes od? 
suplov eee) soineV ot bas dévoe edt to eeontvorg euttuseyd odd 
($96 aearblivd fsanogylog 10 asfaovte, slamta sud :(a@r saeq .t 
Byte es Saftisooo .eistI Ils revo baiestsoe yifatsass scéiso 
% : -29no md {satouiag sd¢ asem besoaxs astaed 
Stiatinalt: to sain edd af emit ai dta0of sd¢ bebsoe1a ybisdmod 
ata List 018 eypeensmoh To ofteisetoatado taueuwtssis to anitot 
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et, + 
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59 
the simple and natural and inclined toward spiritual depth, b 
brought new life into the petrified, formal antique with a By- 
zantine flavor and combined with Farly Christian art. Its joy 
in treatment and abundance of forms combined with the classic- 
al tendency peculiar to the Italian conception of art into an 
extremely fortunate harmony, just as on the other hand the fr- 
Je eedom and light spaciousness of Italian buildings reacted on 
- the connected strength of the massive and dark structures of 
the northland in the most favorable manner. 

In most cases the churches followed the basilican scheme wi- 
th or without galleries, yet always with a free treatment of 
the restricted system. The ancient T-form of ground plan (see 
volume 2, page 176) was not always extended to the cross-form. 
The transverse aisle frequently remained unmarked; over the 
crossing rose a polygonal dome. Phe bell tower stood as ear- 
lier beside the building without organic connection therewith. 
(Pig. 62). The Tuscan churches lacked the crypt. In bombardy 
and lower Italy it was developed in the richest manner. As 
supports columns and piers continued in use, sometimes also in 
alternation. Hor vaulting, the cross vault was almost exclus- 
ively employed, with the exception of some churches of upper 
Italy influenced by France. Yet horizontal ceilings and the 
visible framework of the roof also remain in favor as previous- 
ly. On the facedes the horizcental subdivision expressed in a 
antique buildings reacts in the strongly emphasized main corn=- 
ices. The preference for columnar construction led to an abun- 
dant use of triforiums. The surfaces of facades appearing in 
great width by the lack of towers was frequently animated pic- 
turesquely by facings of light and dark colored band courses 
and friezes. (Pigs. 18). | 

Besides the basilican, the hall type occurred occasionally. 
The central plans are found in community churches chiefly in 
the Byzantine provinces of the South and in Venice (see volume 
1, page 194); but simple eireaker or polygonal buildings are 
quite generally scattered over all Italy, occurring as baptis- 
teries erected near the principal churches. 

Lombardy preceded the North in time in the rise of certain 
forms of treatment characteristic of Romanesque art. Wall st- 
rips and arched friezes were already represented in the art of 


i 


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gaigego ohsosi aistesw edt stoted .aancloo slaas sii heasdae 
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$d¢ to Satantaed sds mort aodsb exvtourte anttaixs seodw 819 
{etiset seomis bas [utionst sd? .(TILt asstH) .vagtacn ad St 
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+ 19d¢ ni eqsegeses offs tend .elets sibbim eds aft eyed rsigens 


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_ 788d odd of 1022 928q o0¢) sei9 io Loodee edt of azaxedbs visi 


~ end beinofed yifenthizo osls eiatfieo: Lssaosiuced dtiw eacili 


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~ted benoit ous asdors» bagor asaqo dotdw at .edyvoaque antiscisd 
feds oi :tatiiso edt svtsoe1 o¢ svede belies .bIsiq edt noan 
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_ dowsdo sidoo edt et tastsoomi stom ylieottetsaA .etivev Beore 
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Ve nh 
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1 iW ita Bra ia Aiea 6 aa ang 


51 

49 Ravenna (volume 1, page 157), and blind arcades on small colu- 
mns with consoles among the Lombards (volume 1, page 171). But 
in reference to the covering of the middle aisle with cross v 
vaults, so important to the development of the Romanesque sty- 
le, the precedence is not important. It was first adopted for 
the church of S. Ambrogic in Milan,(fis. 63), newly built in 
1046-1071 over a three aisled sround plen without transverse 
aisle and with galleries over the side aisles, the middle ais- 
le strongly elevated but without windows in the clearstory, t 
the Sroin lines of the main vaults enlarged by diagonal ribs 
in brickwork, which rise from round projections of the piers 
shaped like angle columns. Before the western facade opening 
in logsias lies a forecourt enclosed by arched porticos on pi- 
ers, whose existing structure dates from the beginning of the 
142 th century. (After 1117). The fanciful and almost fearful 
animal figures in the ornamentation indicate a peculiarity of 
bombard ssulpture. (Volume 1,fmeee209). The system of S. Amb- 
rogio was carried to a happier solution in S. Michele in Pavia 
toward the end of the 11 th century, when the middle aisle was 
extended so high above the side aisles, that windows could be 
inserted in the clearstory walls. The most perfect creation 
of Lombard-Romanesaue art is the cathedral at Parma (dedicated 
1106), where the transverse aisle and choir are arranged accor- 
ding to the crossing square, as in Germany. Likewise the cath- 
edral of Trient (after 1212) follows this design, yet with re- 
jection of the restrictedssystem, and the arrangement of rect- 
angular bays in the middle aisle, that also reappears in the 
church of Ss. Peter and Paul at Bologna, a structure with alt- 
ernation of the supports. The cathedral of Piacenza substant- 
jally adheres to the school of Risa (see page 51). To the bas- 
jlicas with horizontal ceilings also originally belonged the 
cathedral of Modena (begun 1099; fis. 62), a structure with al- 
ternatins supports, in which open round arches are turned bet- 
ween the piers, walled above to receive the ceiling; in the 1 
12 th century the bays thus formed were afterwards covered by 
eross vaults. Artistically more important is the noble church 
of S. Beno in Verona, a basilica with crypt and alternation of 
the supports, in which the system of open arches with horizon- 


if .no. beh uiao! ot nk aptbesieted bailieo ibn 
coc ylaoptin fois asd (88 -828) CBLE aort baits Led¢roalt 

eitesn eisiier Sppeensmoh yd bersve0 yilsiti¢ne 100b & bas enot 
| eds ~sneboM to Iesbeddso end ao es Ilew es ,omes .2 oO .osa 
 enmaloo ifen bas eqiase Siew yd boeeotoxs noieivibdus {sotdaeyv. 
oldes sad ai wobniw leedw bibnofoe edt es Ilew es dntdinde Bi 
.{atiog iam sit a9vo bos elaia slbbim sdt to 

“bnibaoled te1it ge ,yistI s900n Yo eeontvorg arsteew edt ol 
| edd oi yllenoiessoo cels) bavot yloommoo oels sis .8onste of 
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eit ni te .eonsvord Yo scons ov aslimie .sedouwdo Ifed bad 
“ed tebas ebusie orsdoosidors supsenswof Lis soineV oi sens 
ah —=htaesch to dquwiad dnooitiokem tedd to sonenTtal baixewooreve 
(eer eheg.t epulov 285) .oots¥ .2 ni bedsadefso tus Lavoeibemeon 

i edd rehaw boooleveb ssvtostidois eupeensmo® Iie yascent at 
edoitqsonos Isoresslo edt -obpfins eng To souseiiat sesbouowte 
edt m0 sse0ge o19% eoevem Seandoesidors oft to snomtssxd bow 
waissieo 8 déinw .euscenisa dnefons edd yd beiquoso sano .Sioe 
“02 Sid to soisaog etd ni tnirtiote od ceom dsd¢t .virasio bas 
9 dead bas .ysinpisns woxt teixo enismsa wet of dotdw at vag 
~sq sad io moitsnilont te{soisisg edd yd benislaqxs ad vino nso 
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¢ _78eed toor sds te Arowonsxt eldieiv 10 anities Iesaosxtiod din 
“pas dota e bevieses toiredxs end dud .tce osoeensmo8 o¢nk be 


sae foe feoieselo edt dotdw ai .dnemtestd Leautostidove bibasice % 
ess bos .esdbix (iet eti oni omso notsouadenco sbsovs bos ten | 
Py eld deotssll Wo .80002 ebiw bed secetsss edg Yo notsantas bexoles 


ciate .2 ~:sonetol® to eboiblind saeocktingsm $43 boote enotsas 
eS jel edd de dowmde lid hetsool yldoa ent .(gustneo dz th) ote 
Dy evenstd dpondinv) svea befeis seids 8 .ydio edé¢ svods tesons 
} renert eidieiv .zedox n9q0 .es10Q0Re gottsaiesis dtiw {eleis | 
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52 
horizontal ceiling yetrremains in its original condition. The 


Dportal dating from 1139 (fig. 65) has rich sculptured decorat- 


ions and a door entirely covered by Romanesque reliefs in bro- 
nze. On S. Zeno, as well as on the cathedral of Modena, the 
vertical subdivision expressed by wall strips and half columns 
is striking, as well. as the splendid wheel window in the gable 
of the middle aisle and over the main portal. 

In the western provinces of upper Italy, at first belonsins 
to France, are also commonly found (also occasionally in the 
remainder of upper [Italy and especially in Milan) tunnel vaul- 


ted hall churches, similar to those of Provence. But in the 


east, in Venice, all Romanesque architecture stands under the 
overpowering influence of that magnificent triumph of Byzanti- 
ne-mediaeval art celebrated in S. Marco. (See voluge i,page 194). 
In Tuscany all Romanesque architecture developed under the 
strongest influence of the antique. The classical conceptions 
and treatment of the architectural masses here appear on the 
soil, once occupied by the ancient Etruscans, with a certainty 
and clarity, that must be striking in this portion of the coun- 
try, in which so few remains exist from antiauity, and that ¢ 
can only be explained by the particular inclination of the pe- 
ople and their animated relations with Rome, where the antique= 
Barly Christian spirit maintained itself alive until in the be- 
ginning of the second thousand years. ‘he old basilican style 
with horizontal ceilinsS or visible framework of the roof pass- 
ed into Romanesque art. But the exterior received a rich and 
splendid architectural treatment, in which the classical colun- 
nar and arcade construction came into its full rights, amd the 
@olored animation of the surfaces had wide scope. Nearest the 
antique stood the magnificent buildings of Florence:- S. WMini- 
ato (11 th century), the nobly lecated hill church at the sou- 
theast above the city, a three aisled nave (without transverse 
aisle) with alternatins supports, open arches, visible frame- 
work of the roof and a facade, that is interesting as classic- 


~ al: the baptistery (12 th century) on the cathedral Place, an 
octagonal structure, containing an undivided interior vaulted 


by a dome and a facade with entirely antique treatment. The 
chief creations of Tuscan architecture stand in Pisa. They t 


panei rea te soel§ bsowd bae setup eid eiiely ofn .notees 

| sieibediso ysdsim oft ebnate slbbim eds 00 .ydio eft Yo. bas 
"4 ~moo base eublenteh bos extotes® etoedidors edt yo SBOE ni auked 
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y . =s%, Bnidoslorg vibnowts beleie esads sas déiv evan beleie svit 
aeluoriocimes g ni tes9 oft Sa eedenimiey even so? .etceans 
eibbis sa4T .eesas ssilame ai bas emte seoto edd cagas uioedo 
Saizeor9 edgy :esbie sdz te eioor bede edt svods ebnsaxs ofere 

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PY ~saidne ef sheosi oxeseow odd mu8 .eeostane Isnxstxus sds obive 
§ ede ai .esitote fevevee ai eeitekie® bedors otni bebivibive vf 
oaibusdxe asvs bos .loonoe nsoew? st fo oftetastocteds aenR|Mm 
sit aS .(88 aie) 800% Oot Jo asbbhe beniloni ods Ateousd 

ad .alediaso eupidns déiw ylauso .enmntoo sjinsis £8 tortvetal 
asboow ead efdser doidw ao .ellew add Jioqaus .sats most tddeo 
~bivotg e168 eoleis sbie ent elidw ,eleie sibbim eka to gailiso 


seiem woiissni scxisaé sAT .aetdsem neexe Axsb bos stidw yd be 


Oo at adbeast tassels bas yates ,noteesiemi amelog bus bartiog ea 
geeia secs nism sig ase .eanibliud aasdssog od noefxrsqmeo 
Sg pi . 18Wod doineol evomet eds . (TS 8:9) olinscneo sid 
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~eOW ond 8d ieogad ~.e6it0de2 xfte of $i Sntbhewvoviss sebsows aenmn 
, beguoexe Uiedeisasd sat eihneta Ieibsdtsy aadz to ebsost arss 

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yest isiw sofredai eng (retemerh 1% £.002) antbliod Leitneo 
6b Ipoiaos seomis bas aeote s yd bevevoe .eoinvode ows ni siete 
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1 oteiscse 4 -eonou tat adi. SENG foodoe ne 


53: 
there combine in a grand architectural production, which prod- 
uces in every one an unforgettable and evin overpowering impr- 
ession, who visits the quiet and broad Blace at the northwest 
end of the city. On the middle stands the mighty cathedral, 
besun in 1063 by the architects Busketus and Rainaldus and com- 
pleted in 1118. There clearly appears already in its external 
appearance the Latin cross, formed by the intersection of af 
five aisled nave with the three aisled strongly projecting tr- 
ansepts. The nave terminates at the east in a semicircular 
Ghoir apse; the cross arms end in smaller apses. The middle 
aisle extends above the shed roofs at the sides; the crossing 
is crowned by an oval dome. Blind arcades and pilasters subd- 
ivide the external surfaces. But the western facade is entire- 
ly suddivided into arched galleries in several stories, in the 
manner @haracteristic of the Tuscan school, and even extending 
beneath the inclined edges of the roofs. (fig. 66). 9n the 
interior 68 granite columns, vartly with antique capitals, br- 
ousht from afar, support the walls, on which rests the wooden 
ceilings of the middle aisle, while the side aisles are provid- 
ed with Romanesque cross vaults. The internal walls are cover- 
ed by white and dark green marbles. The @ntire interior makes 
a unified and solemn impression, airy and elegant, light inc 
comparison to northern buildings. Near the main apse rises +t 
the campanile (Pig. $7), toe famous leaning tower , erected a 
about 1174 by Wilaelm of Innsbruck and the Pisan Bonannus, * 
that harmonizes finely with the cathedral structure by its col- 
umnar arcades surrounding it in six stories. Opposite the wes- 
tern facade of the cathedral stands the baptistery, executed 
-gim the same style (the superposed Gothic decorative gables are 
later additions), built 1153 by Diotosalvi as a great circular 
central building (100.1 ft. diameter), the interior with outer 
aisle in two stories, covered by a steep and almost conical: d 
dome. Yet other churches ‘in Risa exhibit the same treatment 
of the facade as the cathedral, also S. Michele in Lucca (1160- 
1239) and S. Giovanni-f-c in Pistoja. S. Andrea there (Fig. 
18), a basilica from the 12 th century with a narrow middle a- 
aisle adopted Florentine influences in addition to Pisan. Ev- 
en as far as Dalmatia (cathedral in Zara, begun 4247), the Pis- 
an school exerted its influence. A separate place is taken by 


be We BSN ites COP LR eR) snoonk +8 {snbedtso sda 
“wl tf Stitusey® .s98 Sidsisbh edt no ytio edt to nottsool edz 
‘~anoo 82019 Yee18 s eat0i nea Suvouk edT .#) beseette goons 
x edgy to edaqsensis bolete eestd oven belets esidd a to enittexr 
-19 et baieeoro eal .ebss ateds ts eenge diiw bas déecel omee 
r. eam Loo enigaesyS-sausvel edf .esbie Sf dsiw omob e vd bsewo 
| -Rafifind seifass as wort stab hesbat 
; pati luses) sihemsiiies qd heoubows enw nettizos auoiigo skt ¥ 
d beanies foides  isbhie sno ta davexp Sit Yo wniblety eft mon} 
-besismet 26 segnes on bivoo ban notfoustenos sit yataud 
euoeenesoR 6ac sonivoid nafidm Snthovworsme ect boe ooh af 
o¢ betedbs sindoedidord .bfondscod mrét on aiaddo bluoo elydte 
| oor eldieiv stiw smedoe necifieed asisetad@-yliisd-sryottad edd 
BY -toetidois nsmoh og yimai2 bas Sailésq Ietnostaed so danwomext 
| ,eedornds wen to dusmeetidstee edt ni esol t{seti tntvesc oun 
bas <BATOR soifass to sonsastnism bas oniblindes edt ai aedd 
_ ~essT ai sits .2 esbized .nottsroosh istwdcesinors dota rieds 
) «betus000 Saiblinds sidadxemex on .(@6IS tnoss) sao ni evevad 
, “089 ¢o07T eid bevisos: (Sal stsq .f smufov) W-I-t-osneaod .2 
eid Jo eivdowide sit iyawineo dé SE edt Yo antmnibed ent ts Ko 
| # sbietvo eotoisdo et gnomk .siods es benisme1 yaudaes dd & 
ren) sifensoeol ai aitow inlitused ows benofinem ad od os 3m08 
| 18k -2 bas .OCOl-GE0Or sind .(86 .af%) oxsetS 12 .fodissiV 46 
BP ~iw bus tuemdssid ofdou déiw Boletes se1dd diod .(80SI-080n) sk 
4 aa -ebsosi dota s df 
4 o¢ supitas ent besilitss3 sons elbbta edd goscees sno ni tad 
2tiaing .2ssdfa 10 enode ni etyou {stuemanto sds ok stil won 
odd wa 231000 istefolo ai ylisivotéasg bos ,eeise0fons tiodo 
Le oft at elle? ysivicos saodw .itsmeoB end Yo ylimsl tertas 
/ -no0 elenrt .leubivibat na becoleveh esw S66 o¢ OROL mort bod 
yiteido tsdd¢ .moftstaemante Yo shom gakwasio yisv boa bevies 
| aT neist ersduem [suvsossivore Yo notysioveb edd ni bsdeienoc 
- afdaen besofoo yisnaiad io edid to eoieeom dsiw oupis fi 
pitas sds m0 
| -se Sved Sas evisero0eb ofseon io aveteem bead’ cosa tadW ee 
4 ee edd ai 10f00 bifneloe bus m10% eldon at babuboig ylisois 
| O88!) Y-I-$-olos 2 1890 yastasnom edt to eisdeiole 
yor® «2 tas .en1de9 YedeeN bas suas) to enxte4 vei besoex9 
haven ons ede ya ofS I-SEST ai diiad oneied ad Bt 


+L, ety 
‘ oe Sm 7‘, aa 

ey ae . ae 
a}, SO ee Den ; po ina 


AAXs 


54. 

the cathedral at Ancona (fis. 70), built 1128-1199. G@aused by 
the location of the city on the Adriatic Sea, Byzantine influ- 
ences affected it. The ground plan forms a Greek cross, cons- 
isting of a three aisled nave, three aisled transepts ef the 
same length and with apses at their ends. The crossing is cr- 
owned by a dome with 12 sides. The Ravenna-Byzantine columns 
indeed date from an earlier buildings. 

* The oblique posttion was produced by settlements (resulting 
from the yielding of the ground at one side), whieh oceurred 
during the construction and could no lenger be remedied. 

In Rome and the surroundings Umbrian province the Romanesque 
style could obtain no firm Boothold. Architecture adhered to 
the Antigue-Barly-Ghristian basilican scheme with visible roof 
framework or horizontal ceéling and firmly to Roman architect- 
ure, busying itself less in the establishment of new churches, 


than in the rebuilding and maintenance of earlier works, and 


their rich architectural decoration. Besides S. Maria in Tras- 
tavere in Rome (about 1139), no remarkable rebuilding occurred. 


“2 §, borenzo-f-1-é (volume 1, page 159) received the front chur- 


ch at the bedinnins of the 13 th century; the structure of the 
5 th century remained as choir. Among the churches outside R 

Rome are to be mentioned two beautiful works in Toscanella (ne- 
ar Viterbo), 8. Pietro (Fig. 68), built 1039-1090, and S. Mar- 
ia (1050-1208), both three aisled with noble treatment and wi- 


th a rich facade. 


But in one respect the middle ages fertilized the antigue to 
new life in the ornamental works in stone on altars, pulpits, 
choir enclosures, and particularly in cloister courts. By the 
artist family of the Gosmati, whose activity falls in the per- 
tod from 1090 to 1332, was developed an individual, finely con- 
ceived and very charming mode of ornamentation, that Chiefly 
consisted in the decoration of architectural members taken fr- 
om the antique with mosaics of bits of brightly colored marbl- 
es. What these head masters of mosaic decorative art have ma- 
Sically produced in noble form and splendid color in the Roman 
cloisters of the monastery near S. Paolo-f-1-M (1220-1241), e 
erected by Petrus of Capua and Master Petrus, and S. Giovanni 
in baterano, built in 1222-1230 by the two Vassaletus, father 


“< 
Kes ioe ued 


f fille 


mre pal eau ea 


ef sdavord aed das isvosibem sede tis to agoinonysd 
908 
F ~nssye nebau | asw ylesl .yuutaso de If esd to olbbim odd thea¥ 
~as sEtwd090 dt 98 sd to elbbim of ltt aedei bus .eiua onid 
: 18 asisxs asm1e8 .enetustecosod bas enswiol odd io sede 0b 
~n508188 atin gaeq of oele Doe . enitnesyS dtiw beatdmoo s1eds 
: at igin esos liasd snosauords sis asdoundo dP -ENOLs bead Df 
| eleis Sibbim ,yivoo1th aftoibe eseqs edd tant .slets serevess 
8 esieis. ebie edd af etiuey eeoro bese bnifiso Istnoxtaod tix 
4 i bemrotenesd sedel sew (TVOI muaed) ontels® to Isubsdseo sa? 
bexinaebom yietelamod -edfuev lenaud atin nmgieed ista & otni 
{ meds a0 -Olisvei bos itiem4 to elarberteo aninodddien edt sus 
4 ~ni sobsoxs bailed tnidooaxvesni oft bea sedors buor hetlit¢e odt 
: -sqge webn01s2 91nsoHesfilons neiliere Io soasaltar edt etsorh 
| wobeatd ssmi0Wl sdé to tess sit ni snemets [eesd nemish oft exB 
J to. elsibedteo sd? .siivgs io ystauoo sat ot ,yissI aeK0ol to 
~Liesd aenmufoo 918 (Siir-seor) stort to bus (ESI nwaed) tase 
-beLanoe ese enmuloo owd dose ftnacl to lfenbsdtseo sit tA  .eeot 
“pease yferiet ods ni boteianoe esdoipdo saz Yo yiiteiiuoeq A 
ry eqs inert to Isibsidso sig oI .aayse bsaginos visors bas 
- of i6 sited .& of :sdowwdo te90n STtduS Sat dtsened ebustus tq: 
b; ~x9 wed asi ,dowdo s9wol s es beaolsvebh vistelawoo ei st std 
a8 as ni bemtsess siox? te isibedtso edd slemexe sot) enotéacs 
] 8 ‘Tiew dgiw noteivibdse sdt yd eqed asbsost ont .(senee ouptt 
2 yisnevoss) ,exil edt boa aastryotiad ,Bessiai hedorws ,eqiate 
“ Ierevee ai Ad t08 edd bos yissl asaqu Yo ebnibliud ont Ifeoes 
| dnsnsereo ak eeisdopise end oi bsipfont weve sia etswos esean 
a ett erseque vidi soivetat edt ol .ebsoet end dsiw nottosanco 
Pi edd yltsido exsh .ddsoh sat of evises rofneigqe te svol 
’ Sate .outeesd 3 io euisebiee’ yd belie (tistonten) exevtor 
s (8)f obaa .f emalov) slisoce ET Tete) eupisus ect bevives 
site noissioceb te siyde “ied? -G0f908 i980 asid ot tk Sddg 
emyotame evienedxs deom sit bowel ti tadt ,wottedoraes dove 
® ,yasceot 86 16i 26 eno8 ai bas lio. nt .vissI sowol of 
mony banettib sIshsow sidnom sit Yo BLOAT Om lnoindoss sit # 
“ A esis tHere {ib eat Tho yaad todd at dtamsod eit Yo “esoks 
Yi oan a) ots ssuosl wiog egoitoy Bb806) BS GemAKro Sit LO 
BS Heeeasensoe Sit na meds toh abeay bao edols eign ‘ 


‘ 


i sen eed lai of egaoled fe , ts. ue det. Pe 


ae 


55 
and son (Figs. 21, 59), belongs to the most beautiful and most 


harmonious of all, that mediaeval art has brought forth anywh- 
ere. | , 
Until the middle of the 11 th century, Italy was under Byzan- 
tine rule, and later till the middle of the GC th century, un- 
der that of the Normans and Hohenstaufens. German traits are 
there combined with Byzantine , and also in part with Saracen- 
ic traditions. The churches are throughout basilicas with tr- 
ansverse aisle, that the apses adjoin directly, middle aisle 
with horizontal ceiling and cross vaults in the side aisles a 
The cathedral of Salerno (begun 1077) was later transformed i 
into a pier design with tunnel vaults. Sompletely modernized 
are the neighboring cathedrals of Amalfi and Ravello. On them 
the stilted roud arches and the intersecting blind arcades in- 


dicate the influence of Sicilian architecture. Stronger appe- 


ars the German basal element in the east of the Norman kingdom 
of lower Italy, in the country of Apulia. The cathedrals of 

Bari (besun 1234) and of Troja (1093-1119) are columnar basil- 
icas. At the cathedral of Trani each two columns are coupled. 


A peculiarity of the churches eonsistcd in the largely planned 


and richly equipped crypt. In the cathedral of Trani the ery- 


pt extends beneath the entire upper church; in S. Maria at Fos- 


gia it is completely developed as a lower church. With few ex- 
ceptions (for example the cathedral of Troja treatmed in an an- 
tigue sense), the facades here by the subdivision with wall s 
strips, arched friezes, triforiums and the like, freouently r 
recall the buildings of upper Italy and the north! in several 
Gases towers are even included in the structures in permanent - 
connection with the facade. In the interior fully appears. the 


love of splendor native to the South. Here chiefly the marble 


workers (marmoraii) called by Desiderius of Mt. Cassino, again 
revived the antiaue opus sectile (volume 1, page 148) and bro- 
ught it to high perfection. Their style of decoration enjoyed 
such approbation, that it found the most extensive employment 
in lower Italy, in Sicily, and in Rome as far as Tuscany. * 

* The technical methods of the marble workers differed from 
those of the Gosmati, in that they cut the different figures 
of the ornaments (vands, foliage, palm leaves ete.) out of. th- 
in marble slabs and cemented them in the correspending recesses 


: an ; Aaa 
seudvigerbi tes biukasents SO OF Steswem Janstostidorn eis Yo 
| |B shdnow te sid Glows yeu Yo hesogmen exsu esnantt eds tom 
ia ere ais 42 -OnXHttoqg Sonildus Inrensn sAs of Qhehsiosen bhegnsdan 
+ yd Beaqaivos yidota ysev oe basfek gsilnoea stadt .¢lioie ale) 
; <Bdd08 .easmof .etos1® yd bolus ylevieeeoowe esw dokdw .ex0dsa 
~ bas yistaece di Sf oft ni a8 areteow .eneoecse bue eentcnasys 
 «--g@ daee0rds besesa esonisa nsmi0l edt to slot baees{d sdé¢ tebe 
benidnos stew vew otentdxo? ylomestxe os al .xemiso Intiebarow 
| + hTO Hi Hotsexilivio to ew1io0t rsileee sds bo encivibers oveds 
u tiniqe ods eteesd ods most ,fesd ttedt sxutostisous of evit o¢ 
.tfseti- 101 daow a8 edt stsexD blyow sads .ydused ao Saidnras 
a -om sdf OF 2nibrooes asic baverw Isoisoesa edz enamoh edt mort 
i ~fdnesyh sdé worl .bnilies Isénostaod dé¢iw sciliaed edt to Leb 
_ base ,foitouisesos ooh .nelq Iesdaso edt Yo eehetnevbs edt esa 
-asige bas edsie sitiasm bexofoe yisdaiad dtiw bardst videos ods 

7 -4098b yleiwa bas dostavxel edt ensorss® sed wort .eotseom bist 
4 ) -evitnebaod stidosiate’ sdt ,noisonadenos shsois Yo sen evits 
| go béxg0G soleo to aobaslee edt baa .(8O08 sasq .f emalov oss) 
“#6996 6ot botsfaton nedt enantell ed? -10f%sdnr saifitiae edd asvo 
noisibbs edt yd sesesn sisdd ni beoubore of anottssso Letndossi 
fexetostidors [sinemunmom ateds Bos sehbsost sient at erswor to 
ped (20 8%) onreis® se snsrosreli duet tinge eat .tasudssas 
ed yLoasa B a6 °(S8L essq .I sanlov cea) benotéasa need ybsetfe 
| © -ge6mer8") tansvoks .2 ei st oF betLfs ¥Yigeos idotods enitaaer 
| -nededue s dtiw sey \eemob ovit ddtw somde's es (Sart bebavot) 
_ snomeenaige efs vd ,soifiesd ateteow odd of nolisnixorvseas Lars 
“208 somdd bos eleie seveverssd atin even 8 es Sniblind ead Yo 
_ ‘te sosleq' Leyor e432 ni bedouxseneo Leqedo evidsian od? ee 
~s03 8 ef {ObLMOSIL) doivetait anoute eee s08 seomet .owrele4 
7 »kaieeoro sit sevo omob did s ddiw sotiiesd aegautoo bsfeis os 
- bagaseetgss ei Sniliso Istaoxiood sdtw Seys asoitfess sang edt 
| sav to ‘Sted ¢exft edt worl baited ,aleted #3 Ieibeddso ons yd 
pede Li eit eluditesy dtiw sbscei sisteew seodw .yrngaso as St 
a Veebddtee’eas ‘NG (ev9WOs enPRensT0# yleritae bos svieasm owt ya 
al edt (day10 ede vise dordeite sud .(@6It-e8rr) omels9 to Le 
" xswod efduoh fedosteb 64s bas cece tiodo sid .enmyloo Ienvedné 
_  Esrbedtso ods yd bas \ernsonade eupesiamol sit of Suofed non 
> “hil oat geono beleis cords 6° ‘shops tg efseanol ‘te 


e 
Se = 
eae 


€ 


ay, 7 7 ; ; " %, he v8 ‘ P 4 br ; 
hd | inks or suas 


No. 


56 


of the architectural members to be decorated, while by the Gos- 


mati the figures were composed of very small bits of marble a 
arranged according to the general surface patterns. 


“~ Tn Sicily, that peculiar island so very richly equipped by 
nature, which was successively ruled by Greeks, Romans, Goths, 


Byzantines and Saracens, western art in the 12 th century and 
under the blessed rule of the Norman princes passed through a 
wonderful climax. In an extremely fortunate way were combined 
these traditions od the earlier forms of civilization in order 
to give to architecture their best, from the Greeks the spirit 


thinkins for beauty, that would create the art work for itself, f 


from the Romans the practical ground plan accordins to the mo- 
del of the basilica with horizontal ceiling, from the Byzanti- 
nes the advantages of the central plan, dome construction, and 
the costly facing with brightly colored marble slabs and splen- 
did mosaics, from the Saracens the luxuriant and purely decor- 
ative use of arcade construction, the stalactite pendentive (: 

(see volume 1, page 209), and the splendor of color poured out 


over the entire interior. The Normans then completed the arch- 


itectural creations so produced in their sense py the addition 
of towers in their facades and their monumental: architectural 
treatment. The magnificent Martorana at Palermo (fis. 71) has 
already been mentioned (see volume 1, page 194) as a purely By- 
gantine church; nearly allied to it is S. Giovanni d’Fremeti 


(founded 1132) as a church with five domes, yet with a substan- 


tial approximation to the western basilica, by the arrangement 
of the building as a nave with transverse aisle and three aps- 
es. Phe palative chapel constructed in the royal palace at 
Paleruo, famous for its strong interior (1129-1140), is a thr- 
ee aisled columnar basilica with a high dome over the crossing. 
Fhe pure basilican type with horizontal ceilins is represented 
by the cathedral at Cefalu, datins from the first half of the 
12 th century, whose western facade with vestibule is flanked 
by two massive and entirely Romanesque towers, by the cathedr- 
al of Palermo (1169-1185), but o®iwhich only the crypt, the 


internal columns, the choir apse and the detached double tower, 


now belong to the Romanesque structure, and by the cathedral 
of Wonreale (8274-1189), a three aisled cross basilica with 


‘3 
4 
he 


“7 A 


eos lo éosnunom Insdtoqmt: teow bas bevaerero seed sist .feta0g 
~isis9\ to [sibsddso edt mo es .esas afodo ed? .elysge neclidi® 
“18 odd difiw eobsoris Doild osteiaesoagsio edd estididxe saga om 
dott yloweasxe odd yG (SY .arB).cehso dose Snidoonastnt eedo 
-iguoe eniuaes io sseie woke baer8 8 ei sOfastHi sdt Yo eoteeom 
-89 eat, 180%  .beouboaq sobaeice evoledet bos eseninutassso nae 
dd o¢ awond sageo tedeiolo supseludoig tadd eeil oels Isabedd 
@) \8ebsoxs beduteg bas enmuloo befquoo. ddiw. (ISSI-OOSL) bison 
~8 To doss10qmi: Jeom eds ret yd oets sud .teshreL odd vino ton 
¢ io evisde sdz io soasoitingsm sit yd yisdI ni exstetiofo {is 
essqinoe, sit to yiosed edt fae eotssom ddiw bisdak enmwioo- sda 
ar, . -eiesiqad. tisdd to noisssxe08b ber 
. ; | -fekuti09 bos sisa® .V 
~efnedd, ed euletdoe AneK detasae sds. to &nibnuet eds s9edtA 
~1ytens baoysd betsasenseq esonizg ofdsokietV oetseiadd .onbsm 
-f eumdov ese) exooll edt daiw edeatuon bisd vests bas .seens 
~ig2s0 .soed io amobaatd nsigeitdd edg¢ bobayot (S08 SOS eeksa 
| -déton edt [is yfasen bezivamoo doidw ,noge174 bos exteval .of 
'- oW sstedtekot benidmoo.t169 nz bne., sinentasa sdt to tled are 
| ft .ytfevitio. Io kniscold edd .emobtatd sacds to seta odd dtiW 
-id9% tied? bus dinon; odd wort eqooli eds to noteinaxes esolamos 
-igen 8 sogu besetne nisoe .(O@8S guods) shecsid biswot dasmex 
beebal .das odd at beeecrgxs seiwsXil asw doitdw .sousvbs Lene 
2h. .dnemgolevebh saengnxsq bans sext 8 o¢ dddvoad son. asw eit 
_ + “8e eupeeasmor sda nt oela .eoke eibbim sad sa1oisd omit ong af 
ni ylosivottuse ,esoneuiini abierol no snobasaeh st esw bois 
_ efaseq oef{s .c0ner§ aisdduos Sooostbe edz moxt sivesem taou8 


Pe abiaeb leiene2 edd nt bestndgonss seniseuoe 
& ,goftistasnseio bas tnemtseid Leintostigess ont oi asristenog 

& oiegae oad to .ssdeem end to anoideler sas od &uibroDOs 

Bee hea -ed8id%8 Boidwooxe edd Io bas 

ee soins oda. eetetetieinsrocl m6 tnebaeqeb ylesisas [1rs2 

 Lind»padtesvedat oof  . (EY .3t%),cbefof mi eonsl6 si sits 2 


| ‘vowadsubanal bebeed ys bestaswsnto eiediaso sidsiisasa d3in es 
NERA | (+e9d0%8 sodeest0d enti dotdw 


AY i oe ann 
¥ Ve A Py ' ee et ee ef od lee Se 


RUA « favecon inudireseos ews dydeesd einditeev nusseow » a 


stew edostic seodw .emiok gas deinoo¥ fas namied: .busamod so 


_ @ Ratbivih eobsoss toi ea? .coleis evit.nt begeraie vi garb. - 
_ weiq xotad beretesia Lencksdoo no sean setwdssnes aoivesni ont 


a Pa 


57 


si, western vestibule between two towers and a richly decorated 


“~ding is arranged in five aisles. The four arcades dividins t 


portal, the best preserved and most important monument of the 
Sisilian style. The choir apse, as on the cathedral of Paler- 
mo, here exhibits the characteristic blind arcades with the ar- 
ches intersecting each other.(#ig. 72). By the extremely rich 
mosaics of the interior is a Srand show piece of Senuine south- 


ern cheerfulness and fabulous splendor produced. Near the ca- 


thedral also lies that picturesque cloister court known to the 
world (1200-1221) with coupled columns and pointed arcades, n 
not only the largest, but also by far the most important of a 
all cloisters in Italy by the magnificence of the shafts of t 
the columns inlaid with mosaics and the beauty of the sculptu- 
red decoration of their capitals. . 

V. Spain and Portugal. 

After the founding of the Spanish Mark (province) by Gharle- 
magne, Christian Visisothic princes penetrated beyond the Pyr- 
enees, and after hard contests with the Moors (see volume 1, 
pases 203, 208) founded the Christian kingdoms of Leon, Casti- 
le, Navarre and Arragon, which comprised nearly all the north- 
ern half of the peninsula , and in part combined together. W 
With the rise of these kingdoms, the blooming of chivalry, the 
complete expulsion of the Moors from the north and their reti- 
rement toward Granada (about 1250), Spain entered upon a nati- 
onal advance, which was likewise expressed in the art. Indeed 
this was not brought to a free and permanent development. As 
in the time before the middle ages, also in the Romanesque pe- 
riod was it dependent on foreisn influences, particularly in 
great measure from the adjacent southern France, also partly 
on Lombard, German and Moorish art forms, whose effects were 
sometimes recognized in the general design and construction, 
sometimes in the architectural treatment and ornamentation, a 
according to the relations of the master, of the architect, a 
and of the executing artists. 

Still entirely dependent on Moorish eft stands the churca of 
S. Maria la Blanca in Toledo.(#is. 73). The interesting buil- 


the interior lengthwise rest on octagonal plastered brick pie- 
rs with remarkable capitals ornamented by beaded bands, from 
which rise horseshoe arches. 


‘rare beet visv gon bas hieiels eemds & a8 e200: stead ead 
2 ~») seudd Yo tedtie eseienoo eid? .siedo bus oleis sexevenexd 
~ 900 to 10 eeleis eda to eexe sit ao antvl eoxs (evit mobfse) 
~elets sbie sit Sninoisdnoo ya hewret .efais atodo a dtiw eege 

_ «Sato Qnisteths1 5 yd aofenetss asi bas, tioeds sibbia ons bavors 
«doe Letene® etds mort anivettib esitiastinosd .eleasdo to of 
s etd Sninistes yd eedousio deinsa® edt yd awode yino sxe ome 
; (S882 sbsq .f omulov) eabie edt anos eotsaoqg. botiors Len19dxs 
-ts elbbio ofg ot eteeiag 103 1fefo dbid 5 to nokdasent sit vd 


“ays esidd (eiedourse edd oF basket al ~ .forxs0019 10 ofsx0dmtd) 
| -ando {Led erg .eodosundo Ifed elomte edt +-:bednesex9c82 ste es 
3 -snosinod oaf .esoiitesd bedivev edd dae ,esineliek sdiw eedo 
5 **mpliin® 2) .eetousdo wet a stud ai bawot ef gnrfliss ssboow Is 
| “sa onbeonsmoR seshio es yosentA .(sivose® ni: oxrnsnod .2 bas 
© ebte bas elbbiw edt ot etivev leness vd housvoo sx)ew esnible 
e eid ni saemyolame bhowok siivev teanud tied ceils orsdw .esleis 
: ~feivibdoe sft smeo 19467 seonet) aredduoe mi es eofeia sbie 
_ «- ond Yd aysd edd TO oniseVOO sit neds .eodore sexevensid vd nO 
~fs olbbim ott oi neat bus eelets: eshte odd at dextt  etiusv ee 


1 -od nf noteetiabs onibnt? yifeni? noiveusdenco beddia sad .este 
+ +eieem Yd adit oft to sonenimoug islssisasa ntiw teemooleved bL 
; ~),edff ofd bas estdteacy. .esnemenro okassol .ers7e bsiossds to 
: sno bas sxsupe afodo ctin cotoundo [lad betivnev fennut sdd of 
x edd esisel{es dsiw seodt of .snnn10eD Js atae¥ .2 edno0led sece 


wifesenanod ob) (obsitnsd): obs .2 to doisdo exemindtia seer 
“tel sit \edusensid bre oven befeis oeads ddiw .C381t betefamoo 
“Oiddinw efeie stoi: .pelete obia edt. baoved ast gnigostorwg 193 
_ Olt teow sored Jaei8 8 fdtw ofudivesv bas .afeaedo to sflouio 
| -wte sd? acon fatnemsnro bewsolvos bee eewsete! yd benobs vi 
(@bIL betsotheb) xoad se oxobtel .2 Yo dowwdo betnaiss viasli 
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et dsow feito s es dotdw booms 1oLsouidenoo hetivay begoleveb 
~=« Setevensad dtiw (OSD sedis) souswsisG to Lerbedtso (bio) efis 
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-19W0y Bntecoro edd to dnomteets ioia yiasivoisisa 8 hoe .sle 


58 
The Romanesque churches as a rule are based on the form of 
the batin cross as a three aisled and not very lons nave with 
transverse aisle and choir. This consists either of three (: 
(seldom five) axes lying on the axes of the aisles or of one 
apse with a choir aisle, formed by continuing the side aisle 
around the middle choir and its extension by a radiatins cire- 
le of chapels. Peculiarities differins from this seneral sch- 
eme are only shown by the Spanish churches by retaining the e 
external arched portico alons the sides (volume 1, page 172), 
by the insertion of a high choir for priests in the middle ai- 


ye sle, and a particularly rich treatment of the crossing tower. 


(Gimborio or crocero). In regard to the structure, three typ- 
es are represented:-- the simple hall churches, the hall chur- 
ches with galleries, and the vaulted basilicas. fhe horizont- 
al wooden ceiling is found in but a few churches. (S. Millan. 
and S. Borenzo in Segovia). Already the oldest Romanesque bu- 
ildings were covered by tunnel vaults in the middle and side 
aisles, where also half tunnel vaults found employment in the. 
side aisles as in southern France. Later came the subdivisi- 
on by transverse arches, then the coverings of the bays by cro- 
ss vaults, first in the side aisles and then in the middle ai- 
sles, the ribbed construction finally finding admission in bo- 
td development with particular prominence of the ribs by means 
of attached stars, lozenge ornaments, rosettes and the like. 
To the tunnel vaulted hall churches with choir square and one 
apse belongs S. Maria at Corunna, to those with galleries the 
Sreat pilgrimage church of S. Jago (Santiago) de Compostella, 
completed 1188, with tnree aisled nave and transepts, the lat- 
ter projecting far beyond the side aisles, choir aisle with c 
circle of chapels, and vestibule with a great porch most rich- 
ly adorned by statues and sculptured ornamental work. The sin- 
ilarly arranged church of S. Isidoro at Leon (dedicated 1149) 
already employed cross vaults for the side aisles. In the 12 
th and 13 th centuries originated some cross vaalted basilicas 
as important monuments with energetically subdivided piers and 
developed vaulted construction, amons which as a chief work is 
the (old) cathedral of Salamanca (after 1120) with transverse 
aisle (fis. 74), triapsal choir and very rich crossing tower, 


(gh eae RN ees ond of sebie neecxie dtiw sesia tend 
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s88 .ed8 see osik # 

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59 
that rises with sixteen sides in two stories, flanked by four 
round turrets. In a similar way the foundation church of Toro 
is crowned, in whose massive domed tower numerous Moorish for- 
ms found acceptance. The beautifully located cross-shaped ch- 
arch of S$. Vicente at Avila with three apses has a broadly de- 
veloped western facade,with two low towers and an arcade port- 
ico between them, and a very richly sculotured double portal. 
(Fis. 75). Expressed northern influences are shown by the pi- 


‘Y er and vault construction of the vast cathedral of Tarragona, 
a cross-shaped basilica with five apses; it first originated 
in the 18 th century and already characterized in the cross 


ribs and pointed arches the last stage of the development or 
the Spanish Romanesque style. 

Separate places are also occupied on the Pyreneean peninsula 
by the Cistercian churches on account of their rectangular ch- 
oir and rectangular side chapels, as for example Las Huelsas 
near Burgos (1180-1182),and by the central designs of the Chr- 
istian knights (Templars), among which is to be named in the 
first rank La Vera Cruz near Segovia (1150), a polygonal stru- 
cture of twelve sides with three apses and square bell tower. 
(Fis. 76). To the finest show pieces of late Romanesque art 
belongs also some cloisters, as for example that of S. Pablo at 
Barcelona, on which Moorish foiled arches and ornamental moti- 
ves are fused with Romanesque decorative forms into a very ch- 
arming style of ornamentation. * 

* Also see Fig. 86. 

Rortugal first obtained its political independence in the y 
year 1139, but in its art continued in entire dependence on 5S 
Spain and western France. As its most important monuments. st- 
ill dating from the Romanesque period are:-- the ancient cath- 
edral of Coimbra, dating from the middle of the 1 th century, 
a three aisked and tunnel vaulted pier basilica ending in thr- 
ee apses and with battlemented ekternal walls extending high 
above the roof, so that it makes the impression of a fortress. 
The Templars’? church at Thomar, built in 1162, in which around 
an octagonal two story nuckeus structure extends an aisle of 
equal height with a tunnel vault and enclosed in a polygon of 
sixteen sides, and the three aisled hall church of the Cister- 


; Fue boobet ‘gedé " (egstesarny sosdoolh te exetoveseid 
p aasovansne eas to ebie tess edt no eleqedio t6ivbnetosy Len < 
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60 
Gistercians at Alcobaca (1148-#228), that indeed shows the us- 


‘oual rectangular chapels on the east side of the transverse ai- 


sle, but terminates with a polygonal choir aisle lyins behind 
these, that already exhibits the basal traits of Gothic in its 
pointed arches and vaulted construction. 

VI. England. 

In the year 1066 the Norman duke William the Gonqueror with 
60,000 soldiers from northern France undertook his great camp- 
aign into England, conquered the Anglo-Saxon king Harold near 
Hastings, took possession of his kingdom and divided the land 
among the Norman nobility, while the native population sank 
into the position of subjugated citizens and peasants, fhere- 
by the architecture of the Normans found admission into Bngla- 
nd, but there experienced changes of many kinds under the reac- 
tion of the native style of architecture and with regard to o 
conditions otherwise changed. ee 

fhe previously common basilican scheme with alternating sup- 
ports, galleries and strongly developed crossing tower (see 
volume 1, page 175) was also retained for the future. In ord- 
er to provide space for the clergy, sreatly increased by the 
flockins of monks from the Continent, men gave the choir anu 
unusual length (so that it appears like a continuation of the 
nave beyond the ‘tramsverse aisle) with a rectansSular ending as 
a rule, and without a group of chapels. (Pig. 77). The trans- 
verse aisle was therefore transferred to nearly the middle of 
the likewise very much elongated nave. It was arranged with 
strongly projecting transepts, senerally enlarged toward the 


>/ choir by a side aisle, in order to there receive chapels for 


establishing side altars as in the Gistercian chapels. Prequ- 


ently these aisles are arranged in the transepts. ‘Aside from 


the otherwise determining influence of the Cluniacs, the cryp- 


ts were not omitted. 


The structure (Pigs.773, 81) begins with unusually thick wa- 
lls and heavy piers, subdivided after the Norman custom, or p 
particularly for small churches, with strikingly stumpy round 
piers laid up in courses of ‘small stones, whose form recalls 
old Saxon prototyves. Phe openings to the salleries approxima- 
ted the character of triforiums by the insertion of a middle 


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veds sonte ,Conetiogmt leiysouise suodsiw niswea tud ersia eas 
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Dem Ae ane een 


61 
column with arches, and which extend above them in the great 


cathedrals. In the capitals akmost exclusively prevails the 
cushion type in the change to the scalloped or folded capital 
(Bis. 79), so characteristic of English art. Heavy rounds wi- 
th frets and ziszas bands, that are repeated to superfluity, 
enclose the arches. (Fig. 84). Slender half columns rise from 
the piers but remain without structural importance, since they 
support no stone vaults. Only the side aisles are covered by 
cross or sometimes by half tunnel vaults, the galleries also 
with wooden construction. But although their pier forms indi- 
cate vaulted construction, the English churches all have hori- 
gontal wooden ceilings (with the exception of the cathedral. of 


,2 Durham), which are often splendidly painted and gilded. The 


portals mostly open in a full semicircle, more rarely with a 
Quite depressed pointed arch; the tympanum then disappears. 
Pnesexternal impression is dominated by the massive crossings 
tower, that terminates without spire and in a horizontal seri- 
es of battlements. If western towers were exceptionally erec- 
ted, which then have the same fortress-like appearance, they 
project somewhat beyond the facade and enclose a small porch 
between them, or they are placed beside the side aisles, where- 
by either the porch entirely disappears or is transformed into 
an entrance portico occupyins the entire width. The broad, r 
round enclosures of the doorways and windows, often treated w 
with frequently coufled slender half columns (fig. 83), in com- 
bination with projectins wall strips and arched salleries, sl- 
ightly projecting and often with repeated horizontal bands and 
the crowning battelemnats, form the most important members of 
the external architecture. In the general appearance (Pigs. 80) 
the Bnglish-Romanesque architectural works make a bold and ér- 
and, though also a severe and dry impression. The masses of 
the building seem less enclosed by the strongly projectins tr- 
ansepts, than the cathedrals on the continent, whereby is some- 
what obviated the heavy effect of the masses produced by the 
towers without spires. bikewise the interior calls forth the 
‘same expression by the extraordinarily stumpy piers; by the a- 
bundant use of ornaments-*almost exclusively zigzas and fret 
bands, diamond and interwoven scrolls, stars, waves and the 
like (Bigs. 78, 84)-- this is softened but little. 


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62 

&£é@ fhe oldest structures, as for example the chapel of 8. dohn 
in the Power at London (Fis. 81), erected by the military arch- 
itect of William the gonagueror, are very simply treated with 
stumpy round piers, plain walls and tunnel vaults. To the pr- 
incipal churches of the developed Enslish-Norman style belons:- 
the cathedral of Winchester (1079-1093) with an extended crypt, 
later frequently restored and transformed; the cathedral: at ¢@ 
Canterbury, dating from the same period, of which indeed only 
the grand crypt (Bis. 82), certain parts of the choir and the 
towers of the Norman structure remain; the cathbdral of Ely 
(1082-1174), which still aBfords a beautiful example of the 
rich Norman style of the 11 th century in its three aisled tr- 
ansepts with galleries, triforiums and blind arcades, but oth- 
erwise and on the facades is evidently rebuilt; the cathedral 
of Gloucester, founded 1089, whose round piers in the middle 
aisle and especially in the crypt indeed assume colossal diam- 
eters: the Cathedral at Norwich (after 1096), grandly planned 
with great dimensions and well preserved with the exception of 
the later middle aisle and of the tall Gothic window of the f 
facade, (Fig. 83); the cathedral of Peterborough (Fis. 77) 
(1140-1193), en imposing work, that must purely exhibits the 
Norman style by its ancient wooden ceilins in the middle aisle 
and the heavy ribbed cross vaults in the side aisles, but on 
the facade by the great openings of the entrance porch,and the 
pointed arches already show the invasion of new conceptions. 

i bikewise in the abbey church at Waltham, a structure with alt- 
ernating supports, round piers and richly treated details, is 
Norman art represented in its purity. These churches with ro- 
und piers (at Waltham, Gloucester etc.) make a more satisfact- 
ery impression internally with their horizontal ceilings, than 
the chathedrals with the much subdivided piers (at Winchester, 
Rly, Norwich and Peterborough), since these (at least orisgina- 
lly) lack the vaults prepared for by the plans of the piers. 
only the imposing cathedral of Durham (1093-1128) proceeded to 
the completion of its system, when it also covered the middle 
aisle by ribbed cross vaults. (Wis. 78). The exterior (Fis. 
80) allows the subdivision of its structural masses of the Bns- 
lish cathedrals to plainly appear; the Salilee chapel (fis. 84), 


om 


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r 


fiviftaod sid ofnt eviweitd .seiois hetatog bas edie ont saogane 

yd qyidnebive .hbetertense ylase dows betntoa edt esdorndo even 
+ ett ai yloo seqit te bosbat .enstoweset eds to sotstsibem eft 
) (ot bexedbs:ylusit (live yllsotenizetosrsdo cee efiaw .eebsors 
 =feo ds Sf est to wadisep deel sdt oi tu". etnilieoo seboow ans 
«fem emit eins te ybserfs tana ,08 Sf omso snokievonnat eas vine 
_ © gfdeishienoo: ends .bosfand ni botase sidso® sts otnt hacecas 


* .Whamdeg ai seds seiid¢see 
ie 


: -Sugdoe7Tinows wisose supasnamoh .8 
} Isditesizelooe nf eaoixssai Yo enottsero beers ois aobress 
~iquooo botwsa suseenswok sdoe to sasdéoséidows isivose edt .t18 
_ ,boiseg t8ilsse ed¢ ni deaol ts ,notty0q geohom yisv s vino es 
beaisoos if .biswno yawinso dt SI saa io eibbimw edd mort god 
2 bas ytio To sonsvbs eat yd sonatacani goiesevons yisastenoo 
evorenua bebasol bed ybasuls exsmoh eff .eandcetidors efteso 
, at Yiteinoidrsa .¥ne0rs8 toeions to ites edd go etasmelészoa 
Re “18 vitetuket) sséeso es terri .220ntvorg eduaell bos snid& ond 
Paes .© suyfov 652 :equs0 yrstilia beiiisacl Liew bas bedaes 
8 fugou bevineb s1]ew ednomsivtse seeds moat asdd bas, (888. 
eodnal ,8nkof08 .gever? .syotdasd§ .stasM .ayudesad®) esitis 
“hove od eomitemoe sey ysm mond al .(.od9 anudeneaes .weecsd 
-bia ds teddooioss keidoosising edesite sdgiside wgstieo besic . 
trowsen yeloxerti e@ sefwiedio odd To tdebim odé oi ealsas ta 
| to giseite som0% 63 ,etedienp teeblo edd to eyelis edt to 
‘bedsnisiae eeisio Isvesibes yfase deom t98 .qmso osmoh eda 
-x8 410% as .Beoni1g sig yO enolishouol toeatbh ads so1k sbies) 
~tee Ifeme wort (il yinel yd sxodusG I ysoeh yd zele00 olqme 
~10vet aetie. Ho é40e Leiagenbui +0 {sina Iboings as to ataemold 
Spe oad ve <BI8VL1 eldesiver fe viistosaes ,ugas rot ofag 
a ingen add ¥@ * ove eosnon othiars stusTx00mt to anots 


ae 


63 
is a show piece of English-Romanesque architecture strikingly 
characterizingithe style. 

As exceptions to the general scheme of the Norman churches 
are to be mentioned some central plans ascribed to the fempla- 
rs, the tomb churches at Cambridge and Northanmton, each with 
eight internal supports and an outer aisle, as well as the Ten- 
ple church in London (8. Wary’s church), erected 1185, a core- 
ular structure with slender compound piers of four columns ‘to 
support the ribs and pointed arches. ikewise into the English 
nave churches the pointed arch early penetrated, evidently by 
the mediation of the Gistercians, indeed at first only in the 
arcades, while men characteristically still firmly adhered to 
the wooden ceilings. But in the last quarter of the 12 th cen- 
tury the innovations came in so, that already at this time men 
entered into the Gothic period in England, thus considerably 
earlier than in @ermany. 


B. Romanesque Secular architecture. 

Besides the grand creations of interiors in ecclesiastical 
art, the secular architecture ofithe Komanesgue period occupi- 
es only a very modest portion, at least in the earlier period, 
but from the middle of the 12 th century onward, it acquired 
constantly increasing importance by the advance of city and c 
castle architecture. The Romans already had founded numerous 
settlements on the soil of ancient Germany, particularly in 
the Rhine and Danube provinces, first as castra (regularly ar- 
ranged and well fortified military camps; see volume G, page 
128), and then from these settlements were derived populous 
cities (Strasburg, Mentz, Frankfort, Treves, Gologne, Kantes,. 
Passau, Regensburg etc.). In them may yet sometimes be recog- 
nized certain straight streets gntersecting eachoother at rig- 
ht angles in the midst of the otherwise so irregular network 
of the alleys of the oldest quarters, the former streets of 
the Roman camp. But most early mediaeval cities originated 
(aside from the direct foundations by the princes, as for ex- 
ample Goslar by Henry I, Bamberg by Henry II) from small set- 
tlements of an agricultural or industrial sort on sites favor- 
able for them, especially on navigable rivers, at the intersec- 
tions of important traffic routes etc. * By the resulting gr- 


mia .W8io odd To dswoue bine edd dtiw bas eliew secds winciW: 
| stetsae8 odd of bensiees.od voce bivod sere [isas yrov 8 yLho 
+ “yr eaheenhmaabae 9d teum yooT .anemitio eit Yo ekakifewd 


| bates as Antec sviniteb yns tuodtiv eaniblisd Yo eniquork 
{tame fas ehisi .eyeile Yo diniayds{ eeeiosta teomis ne betent 


-bedtso e*qodetd oft hetsoore sisw dotdw to elbbim edd tuode te 
~e6b ytosesnom 6 dtiw soktoennoo at yidneupsat .sosise baa Lex 
tod yns yloorsoe esixudowite voedi0ccmt stom sasds eebiesd .ngb 
| ,moidieod sasnisersg s bevinpos a9fiu1 8 to sonehiess sad 

wien AHiuynosoey o Aisw seftic inventbem Yo anode sptuget * 
HW 04s Hi han gonark nyedtues ai suooe en dows .ptosste Lo Ave 

OS Derrsier 8¢ of syouin sto .YNDmIEa Yo ssondiwoxs teneds soa 
“a9. ofmotust e413 of YL {eidc "HonISD HS .gaodsnbnuol oftomsssus 
~isooni tose [side eid bok «<otenm beowp seodw at dodad Ye 4eb 
BBONTS od 09 wehaaahanena SHU VOHOAG MON{ COLT sney eds Ast Yo prsdne 
HOTT Satnogas a1 ys éuttos 


omits ylueo qiev s ts enoitscili¢gaot bevieoss asdd esisio od? 


~éé8d .Seitoode sot evole déin bedetecost Iiew mbie we yd viteou 
“S000 een doidw bas .eekeeesg svieneteb tenant activ bas ednomol 
(38 -Bi8) .ct9wod cefvdoedoes Iieme yd bexodsancade yi lenote 
© sat davords eeowsitas betivnev sid weve erewod saea edt vind 
-fe96 bas dinette asivoliveq dtiw fodourtenos exew allen ysio: 
-seiistvosisds ewi6t edd mt snotsaxcosbh Lewdosdisoxe dstw beng: 


“soo yidsreterg ean asiasdxe edT «(68 1.87%) .vaennoo sad Yo oF 


bas biloe yil{suewans as ove® doitdw .eveldes vaaod Atéw bssouxds 
BiH wofdossorq sisdw .sbie Isoxednt edd olina .Soaeisesags sise 


10 tedmit tfed ellen teisean yd bom10d asw .yvissesosn mese. gon 


ol .aego ylexitue sief anisd comitemoe .noidouatance seboor 
-eveh etew eeonsitas ciem sit isvo eegee edd youdaeo at SE oat 
8 dtiw eetrose se1ds 10 ond io eboiblind evtensteb odnt beaol 
~od Snidne{t ows dtiw neve so too end evods gnieix tewos dota 
hetusesig ef eins to esfqnexe Luifsweed geom eit io sao) sow 
nol .(Ifeb-doeidBwdod asen suydmo0d ss stss oupesnswcd etd yd 
-e0g00 soasiq oF ascastine eds koisunse tegaut a0} bebiosbh aooe 
& .etewos yd bobasteb exsdourte boonsvbs stersoee w meds ott 
Stsveoxs of heonemmoo yeds .ysutnso dé Sl sd¢ Yo base sat tuocdA 


4 Bet $i he dgiw afds [Lit o¢ bow ellew sds saoted dosh « 


P48 ‘y “ & 


eldr 


64! 
sroupins of buildings without any definite system, there orig- 
inated an almost planless labyrinth of alleys, larse and small, 
at about the middle of which were erected the bishop’s cathed- 
ral and palace, frequently in connection with a monastery des- 
ign. Besides these more important structures scarcely any but 
the residence of a ruler acquired a prominent position. 

* Regular plans of mediaeval: cities with @ rectangular netw- 
ork of streets, such as eccur in southern France and in. the n 
northeast previnees of Germany, are always to be referred to 
systematic foundations, in. Germany chiefly to the Teutonte O@r- 
der of knights, whose grand master had his chief seat in kari- 
enverg after the year 1309, from whence was developed a strong 
activity in cotonization. 

fhe cities then received fortifications at a verp early time, 
mostly by a high wall furnished with slots for shooting, batt- 
lements and with inner defensive passages, and which was occa- 
sionally strengthened ‘by small rectangular towers. (Fis. 35). 
Only the sate towers over the vaulted entrances through the c 


L deity walls were constructed with particular strength and desi- 


gned with architectural. decorations in the forms characterist- 
ic of the country. (Fis. 86). The exterior was preferably con- 
structed with bossy ashlars, which save an unusually solid and 
safe appearance, while the internal side, where protection did 
not seem necessary, was formed by weaker walls, half timber or 
wooden construction, sometimes being left entirely open. In 
the 13 th century the sates over the main entrances were deve- 
loped into defensive buildings of two or three stories with a 
high tower rising above the roof or even with two flanking to- 
wers (one of the most beautiful examples of this is presented 
by the Romanesque gate at Gomburs near Schw&bisch-Hall). Men 
soon decided for furter securing the entrances to place oppos- 
ite them a separate advanced structure defended by towers. A 
About the end of the 13 th century, they commenced to excavate 
a ditch before the walls and to fill this with water, if poss- 
ible. 

Within these walls and with the rapid srowth of the city, o 
only a very small area could soon be assigned to the separate 
dwellings of the citizens. They must be developed in height 


ae 
ha ce! 


be = fee. Pas ‘gnsioitive are a of aa isbiw ai nsdt tedeas 
ua 103 bedetldsdes | ed ton bIvoo snedoe. bewol lot vilsiene2 & .ars 
~ -sostq, end sod bebnedni ean yiode bavors sa® .aela bawowk ods 
esinode qoqqn ed jofesdovem 10 toadowem es oniliso eas to sot 

, ” odeneda eonesetet ddiw eyanie saom[A .sonebiesr r0O% bevase 
wortsa edd buewod ecole o¢ bewolls ed ton bluoo toot goede. ond 
, edt baswot benwst elds& sit bed sheoed eepod sit dod resists 
; “to beteienoo yiteom enesisio elamie sit to esenod ed? .doeende 
_ eft evods eldtil snd anibaesxs yino sivdowtdedoe enote wol s 
-f& bne etsoo ,d10w 1S8dmisd tisd to stiwiedse sod .level bavorb 
} gevowisdni fdiw 10 .etoiad dtiw helltt exsw efensa seodw <e74% 
i -jesiq nedd bes ysio bne waste to exusxinm a atin eqiude asboow 
redmis tisd edd yuodneo dé St edd to elbbia edt tuodA bers 

-ai. ,notvoutten0 snose o¢nk bebasdo ean eseao ntedi99 ak stow 

| -- eemitemoe eew doidw ,wrose bavowa edt nt ylno Jerit 3s boob 
% “tied edt olin .679fq snode yvseed so edivev eeo1n yd berevoo 
‘ -3d -29itod2 ie0gn eid tot bentster Saol Ilige asw doow isduis 
to essed wtnesisio bedsnigiao oeis ,ytwsaeo ag EL sds nk .s98 
~nemuaom & 163 toveshbas edt dotdw no .,esisose [e1x9vee ni snote 
-qas soitednomenxo ni vot edt bos sonerssqae Ienudoesidows Let 
10 @pauod saove dove .becqote eyswis exe asided sisi? boise 


bas godisem [oom no sevod) engoled Je bavct sas saferen tieds 
~8I-xitA ,bascqq08 ts (88 -3i4% yenbolon te sanod sloteisvO add 
edt) yuoxsd nt blstfes? .nocvsdaleD . eso sever? .elleqsdp 


ak uflis{notsssg bus (yoomreda ysio enpesnsmoR ylexse Intitused 
rk hs Wage oals -esnsmnn0® sppeensnoh af dota ytio sede .bindeneReh 
a e*sesidio nisd190 .d¢son eda nf es ifew es dtuoe oft at .sonsrd 
} 9 at siqmexe 102) nismex Iiise olyse eppesnsmo® add mi: eseuod 
nt bas Sogegest: és) bas leet nt eatwedid .(ebsesnsd bas yauld 
.(Soend) moteied 

eeoid ao Saneied io ydilidsaso of bisq ef moisasits eistid — 

$ af d1sq Sofiss esidon bus ensioitteg sd? .esenod tenssitto 

9 odd oi ssonebiess afed¢ bed ofw .¥dio edd to sasmaievoa ead 
j si ydeise Isnoe1sG tiedd tol e180 ist69e%2 Wood vbssils .¥tio 
. beagosais yedT 270877 Soexte bas etestnoo Isnietni Levey edt 
_ ~bliud neve yoeneteb tot \boocee edd nedic bus .yrose Jextt ond 
a nite viev isin exewod anoxde to m4o% eds ni ebuillowb sd 
opetes. ond betpntpino enol -asonertne bessvele bas eLl 


a 


aa ae ia 
. 757 ; 4 ee te oF F y . 0 id. i 
i ee " bee ey ‘d 7 
sat “2 
i) 
4 q 


65 

rather than in width and to be quite sufficient for light and 
air. & generally followed scheme could not be established for 
the sround plan. he sround story was intended for the pract- 
ice of the calling as merchant or mechanic; the upper stories 
served for residence. Almost always with reference thereto, 
the steep roof could not be allowed to slope toward the narrow 
street, but the house facade had the gable turned toward the 
street. The houses of the simple citizens mostly consisted of 
a low stone substructure only extending but little above the 
sSround level, but otherwise of half timber work, posts and gi- 
rts, whose panels were filled with bricks, or with interwoven 
wooden strips with a mixture of straw and clay and then plast- 


~% ered. About the middle of the 12 th century the half timber 


work in certain cases was changed into stone construction, in- 
deed at first only in the ground storw, which was sometimes 
covered by cross vaults on heavy stone piers, while the half 
timber work was still lons retained for the upper stories. ba- 
ter, in the 13 th century, also originated citizen’s houses of 
stone in several stories, on which the endeavor for a monumen- 
tal architectural appearance and the joy in ornamentation app- 
eared. Their gables are always stepped. Such stone houses or 
their remains are found at Cologne (house on wool market and 
the Overstolz house at aologne; Fis. 87), at Boppard, Aix-la- 
Ghapelle, Treves, Metz, Gelnhausen, Saalfeld in Saxony (the 
beautiful purely Romanesque city pharmacy) and particularly in 
Regensburg, that city rich in Romanesque monuments. Also in 
Brance, in the south as well as in the north, certain citizen’s 
houses in the Romanesque style still remain (for example in © 
Cluny and Gaussade), Likewise in England (at Lincoln) and in 


bittle attention is paid to capability of defense on these 
Gitizens’ houses. The patricians and nobles taking part in t 
the sovernment of the city, who had their residences in the c 
city, already took greater cere for their personal safety in 
the usual internal contests and street fishts. They arranged 
the first story, and often the second, for defense, even build- 
ing dwellings in the form of strong towers with very thick wa- 
lis and elevated entrances. Thus originated the mediaeval li- 


4 at 1 sednnto pea ead tikua pp Paumcdees jedt .exewod anivil 
au gees tx ‘ent aot sosqe sit Snied baooss sit ak .yrode aewol sid 
odd ean doisw sevo .ylimsl sdé a0 biids odd oi .2anevre2 bas 
4 oda 7193 sedmedo edt ylieoctt bos .ffed (etese .2tdaind) ot nom 
“08 & déiw (u10tdsia) exacted to eoelq edd hae nomdosen rS8NWos 
woo 8 ef (88 .bf%) xewos to asiesb eid® .eduemslited to asia 
.Somerf of no¢n0b beomies) anilfewb edt Yo mick aninauooe yfnom 
“aebiees ¢se19 .moblea sud ynemt0B ni ti dud .(baslang at aged 
“101 yibnoits yiieido dey esew aeitio edz aiddiw exsiua to eso 
~101 edd yods fos ,e1ewod bas elisw oateolons .atsom vo bertés 
-enoiseoriitaol ytio edt to anefoun ont bom 

-strount besseiont os Dsatssés noisowitenoo snose suosensmol 
| 40% ebatifenb odif-eresis10t yiseesoon to notae1s edt yd 905 
s80nn ,siusossisors sigaso .yidanoo sé ai esldon Soitga ons 
dt OF ede movi efasdo sic af edisi sansa sneesta ett at nteizo 
4 yd es [low as siie to soioio yd ddo# .yastneo dt If sas os 
eeasdasvbe odd besilisty siew acivouudenco bane aelq sxtans ads 
~asooresen bas ellid io eogole qeste ,noissool ons yd bobiotte 
“ff .{88 .2:%) .sldiecog 25 dowm as eansitsh svitoetis 0k 1898 
-083 nisd1s9 s moi1i besaeqeh events yiissn nem saoteisdd vbset 
© ott ai betimil eswusttel edT .nsfa to yiseloast Isotitem 
edt bas gisoo sléeso eds .gooki eft of miot teoiquia bus tesblo 
/¥ferse1 .1einorio to Isnogstoo as .qoed efT .elfiew anieolons 
wei ooneisae Seog .x98N0d Rid bas Aaowde yilevevan .,.isacaviog 
~Ho1z said swods .tt &.8s aemitemog) shite bhesossorg teow ond no 
sldsvome1 yitess 10 BIebbsl ¥0 bedoses sd yino bines oas (bas 
,bntblind eviensieh bas 19w0d ddtsw es device ti reriste asboon 
tel [Lite seve basland bos sonst ab) botisg derii edd ot bas 
;: aeds ,&nitlewb 6 10% (yleqs1 e710 eyeuls yasnsed nt tad .x9 
a -100 2 din asiiose ogni noizivio bediaoesb ybsetis adt eaitvad 
nietenssuA slteso gs .elomsxe tot) débiw Isnxesai snibnoaged 
-a90 dd If od¢ to bas ont tuodA .{.d2 B.8E x 8.85 .elesd tas0 
“ud oge1sges 6 oi bebasiis ayewis teomls san aniilenb edt yd 
sosig 6 es yao notésisbienoo ofnit smso ads osex od? ~ontbit 
Bit sioisisad bas .seavooss to eosla tesl sat 10 .tseuts1 10% 
-becoubes yldeisbienos od blues dcbiw 

fi 070 oie ‘emsosd nedd .sosisq say ,eeldon sit Yo anilfowbh onf 
Rak Samoan 1 .eldeso odd to eastourse [esaesuaom 104 
Wc tate ,oldiazog ti asivgnesoe1 ,g0bbfind: {isd 6 to bererRy. 


66 
living towers, that mostly contained the council chamber in t 
the lower story, in the second being the space for the kitchen 
and servants, in the third for the family, over which was the 
men’s (knights, state) hall, and finally the chamber for the 


tower watchmen and the place of defense (platform) with a se- 


ries of battlements. This design of tower (Pig. 88) is a con- 
monly occurrins form of the dwellings (termed donjon in France, 
keep in gangland), but it in Germany but seldom. Great residen- 


ees of rulers within the cities were yet chiefly strongly for- 


tified by moats, enclosing walls and towers, and they then for- 
med the nucleus of the city fortifications. 

Romanesque stone construction attained to increased importa- 
nce by the erection of necessary fortress-like dwellings for 
the ruling nobles in the country, castle architecture, whose 
origin in its present sense fails in the change from the 10 th 
to the 11 th century. Both by choice of site as well as by t 
the entire plan and construction were utilized the advantages 
afforded by the location, steep slopes of hills and watercour- 
ses, for effective defense as much as possible. (ig. 89). Al- 
ready therefore men nearly always departed from a certain geo- 
metrical regularity of plan. The latter was limited in the o 
oldest and simplest form to the keep, the castle court and the 
enclosing walls. The keep, an octagonal or circular, rarely 
polygonal, unusually strong and high tower, weose entrance lay 
on the most protected side (sometimes 49.2 ft. abowe the grou- 


ond) and could only be reached by ladders or easily removable 


wooden stairs: it served as watbh tower and defensive building, 
and in the first period (in France and England even still lat- 
er, but in Germany always wore rarely) for a dwelling, then 
having the already described division into stories with a cor- 
responding internal width (for example, at castle Augenstein 
near Basle, 38.8 x 39.4. ft.). About the end of the 11 th cen- 
tury the dwelling was almost always arranged in a separate bu- 
ilding. The keep then came into consideration only as a place 
for retreat, or the last place of recourse, and therefore its 
width could be considerably reduced. 

Fhe dwelling of the nobles, the palace, then became the pro- 
per monumental structure of the castle. It substantially con- 
sisted of a hall building, rectangular if possible, with open 


i 5 tT 
 -t0n08 ae shooters bedore Sapp beLawoo bus eqete to sbi lh 
wy ~sin0d ,sbsove as 28 obie ismni saitas efg onofe bsbnetus eomi 
-oee ofd af .ge0iiio bus nedosid oft ysose basows oft az ania 
to wor 6 vd eefeie ond at bebivib Lied tse12 eds yLisiense bao 
-tee1R af) [eqedo edt guied si bieed .(E9 (£6 .nbt#) edsroqaue 
~ileme sd¢ otsw ti ni neds ,bedeixs yaote bride so TI .esiteso 
-osfa don etew veds ovao ai ,(edsuemet) ewoor anivil bemiew 19 
-baibiind Snintotbs os at 10 ytode Baooea sat ai be 

o bas noeixis® oft ,einsvise odd 10% eenndouste otsnihiody® 
10 d1woo elteso edt mk yletersqee bedeiidstes c1)ew esldate sda 
~viseetg odd of ,fisw anizolone odd nitsiw esonia eldatine ts 
& etosise oF Sonsteiaer, to ytiosgso edt to seesxoni bas noise 
oad of ,elfav ytio sft ettd .eve inidosaw s besovseb eaw osfs 
~ashaisbh 1edéo. bas elias® eft of sonwaine edd te ellaw anteolone 
-moo yxo’ ..(08 .b29).erewot Snorse yd bedasteb exew soosia eave 
“sxe buids 10 baoose « yd hevsolone asw siteso etidne ons vinom 
_ teat o8 .eds0t Satylsso stom 10 sno bas [Isw 2nisofone Lente 
oo seupm tans ,esiteso eliteal ya beboworre esw.siteso nism oat 
-bedoses 9d biuoo Ji exoted exshsized sit yo asides seakt 
af 000,0f tguods bnete event ~e. gelsaso evoreaun edt ga0mA 

edd to eyotisy odd ak yldotds saom .eeiadnvoo anidesce nems5d 


; “eget oft bas esoniag boiatier out To egsse sid. yd notes anted 
’ bivd dusi of¢ ssnt0t sdtsi@ omen yino ered eW .esosfisa sia 
~basi seftaaiaud?T edt yd VOOL asey edd ok babasot .foeseet i699 
| ~18 ds sboisbiswinsd siteso eft bas ,sekcisge edd fdtubod svera 
<SNII-S6iI nt aokd ods yaseh etnb dalew® eds yd slisd .dotwean 
; ~teqmi oldsrsnev bus tusione ent eooalsq Ieinsaqmt sdg nome bus 
_ IT yxask yd (P80L-S00r) bebssot ybsedls .18sle0D ts. sceisq Iet 
 steqmt ede es ifew es (fC .2iz) IIT yanek yo B60f ct bskisine 
_seeorsdisS yd berogeed bas besosas .UBueksE te colteso Ist 
tsi .cetqumiW .nietuslesseisd .ercecsoome aid bas (OGIf-Sart) 
neevetale® te soaleq Isinsqui sd? .neseuedats® bos 1988 axed 
“10 eis conte .en oF dmeTroomi Ylisiosoes ai (OOS!L-O8LL svode) 
vd beemeedo need gon esd aniut vidhia est to noiesszant fearat 
ef doidw .dcomsdnexxs asmi0t edt bos .enotssrodass cisdaeong 
w8 js ylistosqes) emt3 3edt lo. eelteso 19630 ai betsoger oats 
18 ao eeil aI .oléteiv yfotela {ftse et Wkeeesh nt oxsdneaabi 
} bas sokell fehl Ag foneid gdkiag s ,kisath sdz yd bewtot baslet 


i 


6d gooslq shatioger teom edt --aedosi bae eis ,eileeoh .eatdkov 


87 
flight of steps and coupled round arched windows, which somet- 


imes extended alongs the entire inner side as an arcade, conta- 
ining in the ground story the kitchen and offices, in the sec- 
ond generally the great hall divided in two aisles by a row of 
supports (Wigs. 91, 93), besid it being the chapel (in great 
castles). If a third story existed, then in it were the small- 
er warmed living rooms (kemenate), in case they were not plac- 
ed in the second story or in an adjoining buildings. 

Subordinate structures for the servants, the Sarrison and t 
the stables were established separately in the castle court or 
at suitable places within the enclosing wall. To the preserv- 
ation and increase of the capacity of resistance to attacks a 
also was devoted a watchful eye. bike the city walls, so the 
enclosing walls at the entrance to the castle and other danger- 
ous places were defended by strons towers.(Pig. 90). Very com- 
monly the entire castle was enclosed by a second or third ext- 
ernal enclosing wall and one or more outlying forts, so that 
the main castle was surrounded by lattle castles, that must be 
first taken by the besiesgers before it could be reached. 

Among the numerous castles -- there stand about 10,000 in 
German speaking countries, more thickly in the valleys of the 


»oRhine, Moselle, Nahe and Neckar-- the most important places 6b 


being taken by the seats of the reigning princes and the impe- 
rial palaces. We here only name 6fethe former the Wart burs 
near Hisenach, founded in the year 1067 by the Thuringian land- 
Srave bndwisithe Springer, and the castle Dankwarderode at Br- 
unswick, built by the Guelph duke Henry the Lion in 1166-1172, 
and among the imperial palaces the ancient and venerable imper- 
ial palace at Goslar, already founded (1002-1024) by Henry II, 
enlarged in 1065 py Henry III (Wig. 91), as well as the imper- 
ial castles at Hagenau, erected and restored by Barbarossa 
(1152-1190) and his successors, Kaiserslautern, Wimpfen, Nuren- 
bers, Eger and Gelnhausen. The imperial palace at Gelnhausen 
(about 1180-1200) is especially important to us, since the or- 
iginal impression of its mighty ruins has not been obseured by 
uncertain restorations, and the former arrangement, which is 
also repeated in other castles of that time (especially at Mu 
Minzenbers in Hessel, is still plainly visible. It lies on an 
island formed by the Kinzis, a right branch of the Main, and 


J rs x) x e * ' 


Lied brava eansqo doidw {isd soaeidins beieis-owd bedivey bas 
wD ~ &8 to moi odd tnode Sntvsd .gau0e siteso and o¢at gids wort 
wf evteesm edt s02is 903 a0 ebnate etda nl .codexed asloxerté 
| deatege eanibliod sniqeeisenod e1s eonetsae ets et ieouae sas0H 
 #© .(89 .a28).scefsq ong anivi ttef eft no \ffen antaofone ott 
_ cfodtd edd yrote bowork etd mi bed bas yrote serds vineriot sew 
‘ ol .etnsvisa elas rot emoor anivil bas ,asdasdo Lionsoo M9 
§ has eaetea io Sd2til es vd bevedas ean dotdw .wIede sibbim sry 
ows dsone edd ysl .dore Siclert s yd barevoo Isdaoc 8 dQuords 
sidgeso edt odni onfneao ..t% T.8S « bee Spinnesso .iisd yaote 
-e1ft ¢e91a oid anicistaoo bose evnobaiw bedors balanos vd J9900 
bagei sien y1ede ssqgs edt al .eduemtaeqe aside ond bas soste 
asv0 .etneviee sismet odd buns yiimel edt a0% emoor gatvit eds 
eldon end ait betse1d ,laqsdo slgeso sax val Lisd yewssee ond 
bibseloe sdt 10 .botisa pottienert oft to eiyte oad to sot 
dtess Oidesnyh gse1k8 edt Yo sosleq edd to snomainvos Lscreted 
“eregnie iasions edd dtors of Litte aud berodees boebar sag 
+ ioe agate no sosisa oxpgensmoS bewrecsra teed ant to fled 
-(68 .24%) .nevit ei notassaensicet 8 
_- =tsm08 ted% ,ednomvc0m até Hafsew seev 903 devo eoosi® ow TI 
-sde8 od ai {toe asmiea a0 tied asd eustossidors rsefyoes eupes 
9M Jee7R bas eoontig tee10t edt Yo eslteso ads to entyr vied 
to 18w0Oq eviteo1o bslevpeny ods bedestinsm sxsd offs at nade 
benisme: tf s19ay ,esonivorg osmieS adg oi gent, seds .vyaeure® 
vldastenoo s bom10t tnemgolevsh ofteisas jo sesuoo est .¢eorug 
-f0ftisveis ss Dedoss1 eoimwinss wet e setts bone .eniti ear basoes 
-@ etf mort beviseb .etsow dus tasldon ent begses5 tit dordw ts 
edt at iIst ebseb ottereas ése1p eeenf eaten Lentbiao seom 
Yo eysb odd ai ,sxtqme new1e® sdt to bokaeq Ieosdtiloa brbssiae 
~xenw as o¢ se01 slgosa asmied odd dotdw ni <enetessensdok sat 
~bsoeb edd ati’ .bentsdts nieks reven sf fhotiw .xsmilo hetoes 
-Sd3f9d af mort bebmeoeeh ti sos1 Borden sldosn sind to sone 
eee anaeagpenannts teal edd fo besd ylawo eis osdw .onis tad? 
Yo bas ods setsotbat jxemotsuoexe donor? efg to sxe odd wshaw 
odd to ofyte aie wea ont to nofteevai sds bas sivse nawis® edt 
Pek pi beaad abi tj ,eonss] ai ated 8026 slohim retest 
Bape em b ran Rae . 


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2n0 ie ods VAgoweds Shack seks WeEbEXS's Yd eL¥iensdos et 


68 : 
is accessible by a bri@se, that leads through the tunnel~like 
and vaulted two-aisled entrance hall, which opens inward, and 
from this into the castle court, having about the form of an 
irregular hexagon. In this stands on the right the massive k 
keep; opposite the entrance are housekeeping buildings against 
the enclosing wall, on the left lying the pabace.(Fis. 92). It 
was formerly three story and had in the ground story the kitch- 
en, council chamber, and living rooms for male servants. In 
the middle story, which was entered by a flight of steps and 
through a portal covered by a trefoil arch, lay the great two 
story hall, measuring 39.4 <x 42.7 ft., opening into the castle 
court by coupled arched windows and containing the great fire- 
place and two other apartments. In the upper story were found 
the living rooms for the family and the female servants. Over 
the gateway hall lay the castle chapel, treated in the noble 
form of the style of the transition period. Of the splendid 
y/ internal equipment of the palace of the great dynastic castle, 
the indeed restored but still in truth the ancient singers’ 
hall of the best preserved Romanesque palace on German soil, 
@ representation is given. (Fis. 93). 

Tf we glance over the vast wealth in monuments, that Roman- 
esque secular architecture has left on German soil in the sta- 
tely ruins of the castles of the former princes and sreat men, 
then is also here manifested the unequaled creative power of 
Germany, that just in the German provinces, wsere it remained 
purest, its course of artistic develooment formed a constantly 
ascending line, and after a few centuries reached an elevation, 
at which it created the noblest art works, derived from its m 
most original nature. These great artistic deeds fall in the 
splendid political period of the German empire, in the days of 
the Hohenstaufens, in which the german people rose to an unex- 
pected climax, which it never again attained. With the decad- 
ence of this noble ruling race it descended from its height. 
That time, when the curly head of the last Hohenstasfen fell 
under the axe of the French executioner, indicates the end of 
the German style and the invasion of the new art style of the 
later middle ages, born in France. 


: m pAb yes Caden ay ame 
2 ORHAN teked boo vedas tasthanetts bane Pinca ef 
-eiomexe “yaen1ed yiusaeo dt GL odd to albbim ont suodsalitad 
eo [) .teeh ont to eoloosa aeitetsd® eit revo yosmetque s be 
‘sobiie rewod fsinoqmi newre® dd io: eonsdqoqmi o43 dtz0leoneds 
edeesnOD exsfoen bne diss edz yo benoeeel yvididasousa nosed hed 
 \abisqwss odd sos tA © .bodeinrmlh yLsnstenoo .yosqs9 end asin 
nt) sose bibasias eidd io evissrasest0e1 gesi edd yd asistisboy 
eds broyed tentet eta io sonedixednt eit oink aeons of YebTOC 
O10) sted .noitenimisd eideiosuel s hove dsiw bobne bad ,eql& 
“19d™ divas at bas “eesivov9seqme” teas ehnsi asm1s8 sat s98VvoO od 
-98 bas (soitvilog ads bexsdsade yicesb teom soidw .“omit ofdta 
-sqge tstel enotstbnoo ylusbic ned .vaamyso to stil Ieoimono 
Sttgus nsn%9 edd ,mobgatd ods to noisercaes1 edt datw bers 
vom bivoo .eetase sterscee enoismen efi odni noizivib sas yd 
ie sxdseo Iscivifog sdf .eesndse1d i9mict est oF seia re 2K0b 
=net8-os .deeW ods oF bexretensis esw soowd sibbiw to ysivers 
-13 Sawrga vilenisiao .essqsd edd to eevod (sve sid susaNK .99 
7 ot Sa01 yilsobera yoifou sistze ssiw syd ,enocitibaos sasbou mo 
-nimmsveb 6 beeiousie vyitoespsit send .yoensique io noisieog & 
/)sveef edd to anofitsn sit to. yrodetd odd no sonesfini aat 
[goistiog ai sebsel io slor edt benvees yino som sonex% sah 
-s1fA .stil (eusoeifetnt 08 sonerster d¢iw oels dud .etgoaee1 
“e080 a8 beissgqqe yiwsnes az SL edt to Bniantasd oat 1astts vb 
-nivota hisdty0n eiH ni yilsiceqne .ytilizze? dsasoslisiat Lay 
a trogmit to [fut noisevets as oF Istiqeso oct ni s201 deat , R90 
i sie ‘Peom sat omeosd yilsshbsys eiteS .tesW¥ esxtgas aif act sone 
] - T9986: bas .edeisve oft base benisel off s0% eiLogoisss. sasntao 
.atadavot” s & (sediaw yastoeUSssa09 & Lo ynomitess oft ot Bath 
Decaerabeataan tefvooe oft oxsdT .“ntcse extsns edd Bovesaw tans 
ay edd to Anitetect end ai dowsdo ext To eeomina sdt néiw betes 
4S \ atoaus meme) .emts tiedy to esotoeneo .edise sda bas esousioa 
. i  stelqmoo ot site to ydtewevinn eit hobustte etnobuse {sore 
| - .e1sTd vosnote ‘semie® sit sot eciwodtl fine .eaeds esthuse sisdé 
| -buohte 2ed2 .dntoo aniredsey evisositts seom oda bemi0t efr0d 
| siete seddxet ri\eds 10% yinss10GG0 edsrovet azon ods mods be 
id ot Detintl Jon revewod eaw eonevbs avid sa? .omin 
‘8.90 sheseibes eonet® ifs ;e90entvoig tnoostbs edd bae 


ei . Ee 
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\ pan "Tn be ¢ sani? ") ‘2%! Toor 


69 
GOTHIC ARCHITECTURE. 
I. General and Historical Basis. 
Untilsabout the middle of the 13 th century Germany exercis- 
ed a supremacy over the Christian peoples of the West. Buy 
thenceforth the importance of the German imperial power, which 
had been perceptibly lessenéd by the Bard and useless contests 
with the Papacy, constantly diminished. After the campaign, 
undertaken by the last representative of this splendid race in 
order to enter into the inheritance of his father beyond the 
Alps, had ended with such a lamentable termination, there bro- 
ke over the German lands that “emperorless”. and in truth “ter- 
rible time”, which most deeply shattered the political and ec- 
onomical life of Germany. When orderly conditions later apve- 
ared with the restoration of the kingdom, the German empire, 
by the division into its numerous separate states, could no 
longer rise to its former sreatness. The political centre of 
Sravity of middle Europe was transferred to the West, to Pran- 
ce, where the royal house of the Capets, originally sprung fr- 
om modest conditions, by a wise state policy sSradually rose to 
& position of supremacy, that frequently erercised a determin- 
ing influence on the history of the nations of the West. 

But France not only assumed the role of leader in political 
respects, but also with reference to intellectual life. Alre- 
ady after the beginning of the 13 th century appeared an unus- 
val intellectual fertility, especially in dts northern provin- 
ces, that rose in the capital to an elevation full of import- 
ance for the entire West. Paris sradually became the most pr- 
ominent metropolis for the learned and the artists, and accor= 
ding to the testimony of a contemporary writer, a “fountain, 
that watered the entire earth”. There the secular rulers comp- 
peted with the princes of the church in the fostering of the 
sciences and the arts, conscious of their aims. German theol- 
ogical students attended the university of Paris to complete 
their studies there, and likewise for the German stonecutters, 
Paris formed the most attractive gatherins point, that afford- 
ed them the most favorable opportunity for their further trai- 
ning. The high advance was however not limited to the capital 
and the adjacent provinces. all france entered on a period of 


98 Dibsisselh tinentd @ noqu bus .00SL doods viol 
| en te0n ‘eid Yo eeodd ebteod basse yiidgvow yeu sada 
uN ne SNe MA Ag! \ 4t18 Yo exeterd eda 
| evon Let20¥00 eds sisdw .sone1t sent tads .eldiifetat eaw st 
_ -* hetkasat ati bnvot eebsenxe ons VO deo” sit mi beosbors tage 
saledebvads yd hedeisint tnemevom maotes eds sisdw .eversoquge 
“Petoetts Iéenltee ssw oels .daste ett voos eeenekidié dae eens” 
#090 az Sf bas dt Sf edd ab bewsncoe sands enoisudover sid yd 
_ “beodd: to ebom oaftae sit at bos ntswob evobeifes sit ni eotas 
s y1 odd! bed otvEsem Hotoeaxeny al -esloosq nueseow eds Yo sa 
“98s ‘To ante¢tokiot a .soxti0od Isudoelisdat eas beateias eahsae 
» bas nottsmixcrqgs {[sc01gtoes 2 beophosq .wasitaori Leootten 
“si goa bivoo dads ,antieei Lenogtemtetai cistass 6 bebts eady 
‘oud based sno odd wo bedevoqure aew eka? Lasiizeas herzyoO90 By 
beatedss olidwasem bed of ,exnom to siebto Lenottsarsaad oda 
qd) yhoodsakind nistesr yd basd yetito sat no bas .25K0OG data of 
\@ sew ifsedud .atovesiae bas eweiv aonmos nz tsddexot banat 
dowds sas vd tes2 bood Leoiteriaeloos ods yd betginn sxsw [fs 
“dads .yosqeq std To yosmonrgws end bose nobusteiadd [fa basorw 
“yIstaeo dd SL sacs Io due od THOdB IswOg deenbid etki bedose4 
to eqoeesooue edé to sina ont .{6LS%+8CiL LIT anenonal a9dan) 
. ° -,bttow eidt to eguid edt revo 13988 
neath: ody of Lfs3 yliswsies s319n¢ woonateancdio seeds rsbal 
efor Isitneutiat Jeom Sud ,vVdoweIeid fd Io eevitednssercen as 
“ai (aeluoee) edt boote st ebiesd .emta ont to ysotooe eda ae 
“eisteeo ns Gl edd ni xamilo teeteed@ efi no Bairedas boodsdes 
redsexos beatot odw .eiebro yiseStad Leottestesions sas bne 
 whedQedetdtis? cs eltl to eelnt ons ened witesnon oF Bas br05O6 
‘odd tot bas elebitat ont dtow edsdtion sag ci eiorsisy asite 
i teddo as bebis even seeds of suH .Hoxuis odd to nottossoxg 
eas to anexitio bedinn sat ,noitsexiliviw to eisised taadroaws 
giesitas senisomoe .1ewoq sserd oF bentsdds ovw .kertto sent 
-mi5® at yiistosces sedate sid to ysiiodsus ens io tushuscebat 
 -anold ywiseqeog tteds nt bos .yissT Bue ebssfsedael sas tas 
"89008 m002 ysd? stil oissityse bus Leusosdletur dora s boemo 
- fol ssebaot asidcse bas Lsotsesivefoos ett shieed srenwo es bs 
 *@ euokosge 10m bortvess veda conte .eeivetesscom bas esdorsdo 
| gommoo ent .etuesidedai edt to seestont bigey sad yd eso wwdo 


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70 
bloom about 1200, and upon a general architectural: activity, 
that may worthily stand beside those of the great periods in 
the history of art. 

Tt was infallible, that just France, where the powerful move- 
ment produced in the West by the crusades found its inspired 
supporters, where the reform movement initiated by the Walden- 
yoses and Albigenses took its start, also was earltest affected 
by the revolutions, that occurred in the 12 th and 13 th cent- 
uries in the relisdous domain and in the entire mode of thous~ 
nt of the western peoples. In unexpected measure had the cra- 
sades enlarged the intellectual horizon, a forgetting of the 
national frontiers, produced a reciprocal: approximation and 
thus aided a certain international feeling, that could not ha- 
ve occurred earlier. This was supported on the one hand by 
the international orders of monks, who had meanwhile attained 
to high power, and on the other hand by western knighthood, b 
bound together in common views and endeavors. But all were u 
all. were united by the ecclesiastical bond sgast by the church 
around all Christendom,and the supremacy of the papacy, that 
reached its highest power about the end of the 12 th century 
(under Innocent III, 1198-1216), the rule of the successors of 
Peter over the kings of this world. 

Under these circumstances there naturally fell to the clergy, 
as representatives of the hierarchy, the most influential role 
in the society of the time. Beside it stood the (secular) kn- 
ighthood entering on its greatest climax in the 13 th century, 
and the ecclesiastical knightly orders, who joined together 
according to monastic laws and rules of life as faithfuboChri- 
stian warriors in the combats woth the infidels and for the 
protection of the church. But to these were added as other i 
important bearers of civilization, the united citizens of the 
free cities, who attained to great power, sometimes entirely 
independent of the authority of the state, especially in Gern- 
any, the Netherlands and italy, and in their prosperity bloss- 
omed a rich intelbectual and artistic life. They soon appear- 
ed as owners beside the ecclesiastical and secular founders of 
eghurehes and monasteries, since they required more spacious ¢ 
churches by the rapid increase of the inhabitants. The common 


week nfracroenues eidisiv .bod io esevol ysiol. yd Vritsqaorg iisds 
8 eeentsers Sonesioani edt to notssotbhnt os miot biwode ted 
@ “9x8 90% ydereds JuG .¥sSiO Tieds Io aotdibaoo gotdetagolt bas 
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! ~m199 of ,OGSL goods sons1§ af .semttow bas esvossidore islpose 


.eesbol satilind edd ai betian yedT .O06L tuods tecdsl ts yas 
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“f .footes e at es benisel baa. dd2uss sisw m6 seid to esixed 
_-anoenote bas anozaa oid beetagmoo ylteido gebbol anrbhirtud sa® 

“ope1t oele tud .antblind Lexbediso ¢sert 2 tuods beitdse exes 
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< -9t bedstsese 18% moxi aeaiarow Yo y{sasnos1% a9 tangas 38ig8e% 
edd to esnottekif{do eid betelusex etosatnos asstiaW * -B00L£8 
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| ‘bos .teteam sit ad weds nevis ,etxsm sdiniteb yo T0ol beanwO 
7 <Ginsa ei sedsuoenoctde edt .eko0id beageib saoieliibd edd at cue 
tieds af etetvess sit yd beosboudet Lose sew dotdw , (SO .8t8) 
88 emsituoonose bas anowss sit eetsio sdg al .edese bos ears 


i ef ,essbol Snibiiud sha ai 22 tuo bears. ofntssis davocoast 
> sbisq e*eseem ons of .emi0t s7e Ie uotsuosxe {yte1s. eds sub 
“S ROO Bteitis ens devs \hetudiatse ed oF ti egw boxrsteot even 
< ated Das yeiienoeisa wieks avin baworwseqed sda ni borss980R 
 walvoe yd L[atsomem tneaeaied 2 vovleemeds of bsauane bas .cower 
ti ‘stedt ao anottcotioeant Lexwtossidows bas taigis od¢ to eowsg 
| mort ex ot bovisse10 avettxs to sense evoremun sid ¥S .adtow 
-e8s to tesrstai vievil ont S8fq200ST Ow eos sibbsm otal ads 
- © ho.) oo -etetteasas tied? bas ezetasm add ni sigosq aafdae 
‘ | Tatonee JOIIQ DO QAuGsnsHel 35 Jom otEds .QBRT, (a8 foa\a we: * 
a ete Ady, WO Beiny sft Aodde to .wepbol Quibliwd ats Yo yicmasea 
ae “@ HOMMStaog«e IaveHeg soarg a i 499898 AomAed Lo exssssoono 
. Tost SWOY odd SS sholedussS stonthxodus dtdan .moqgu dSobiesh enw 
gamed ASAMOTOD .Qtuseot2 30 segbol qusitud ea Yo stonivena 
_ sAstighs sft co no HSbYesb enw eisdsont2 dotaw gaomo .85488, ban 
-1uq attr bevisce1 tis fevesthen Yo hotysa bnosee edt aatwodtd 


ee 


cae st - > 
ae 
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a fle leila heieby bealekecous: to sease 


— 


sz0dw o¢ ,2bling at bevertss offs nemesisxs vedso ont as Lleyn 


ts edt at asdd boesorgxe yLfaao1se e10M neve notifies wort s10q_ 


71 

sense of the citizens tended toward a monumental expression of 
their prosperity by lofty Houses of God, visible from afar, +t 
that should form an indication of the importance, Sreatness a 
and flourishins condition of their city. But thereby the exe- 
cution of buildings, that in the Romanesque period was chiefly 
an aifair of the cloister brothers, passed into the hands of 
secular architects and workmen, in France about 1250, in Gern- 
any at latest about 13800. They united in the building lodges, 
in which were arranged the conditions of working, and the mys- 
teries of high art were taught and learned as in a school. fF 
#he building lodges chiefly comprised the masons and stonecut— | 
ters settled about a great cathedral building, but also frequ- 
ently formed extensive associations, within which occurred a 
resular transfer frequently of workmen from far separated re-. 

sions. * Written contracts regulated the obligations of the 
owners and architects. The works of the journeymen were acc- 
ounted for by definite marks, given them by the master, and 


»,cut in the different dressed blocks, the stonecutter’s marks, 


(Bis. 94:), which were asol introduced by the casters in their 
arms and seals. In the cities the masons and stonecutters as 
well as the other tradesmen also Sathered in suilds, to whose 
thorough training, carried out as in the buildings lodges, is 
due the careful execution of art forms. To the master’s pride 
here fostered was it to be attributed, that the artists now a 
appeared in the foreground with their personality and their 
names, and ensured to themselves @ permanent memorial by sculp- 
tures of the artist and architectural inscriptions on their 
works. By the numerous names of artists preserved to us from 
the late maddie ages we recognize the lively interest of the 
entire people in the masters end their creations. 

* On April 25, 1459, there met at Regensburg a great general 
assembly of the building lodges, at which the union of all st- 
onecutters of German speech tn a great general organization w 
was decided upon, with subordinate divisions in the four great 
precincts ef the building lodges at Strasburg, gologne, Vienne, 
and Berne, among which Strasburg was decided on as the capital. 

bikewise the second period of mediaeval art received its pur- 
port from religion, even more strongly expressed than in the 


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RAN es og. Meal 1c es : 
a B uy abe - ob4 é ik Ay * Pe, ow aed, ' 7 ; = e 


i 


Rotieasl. evtsae. odt bas bagm odd ,marotfoass0 ed ,ao1 
s hasdhie adi gi bebescove agtotteym sd? .bedsataoberg 


qu daives: edt One .609 déim noingamoo (satstat ad¢ no nottedt 
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| beviogsib sew ,8edoquds eupesnsmod sdt to qaomted sdt at aoito 
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~miot to motaye a at aods xit of bas ,matoi¢ias Leubividbat Les 
eddbim t9tei od3 to sawtoesidore eds aids to aaiwsttd .a6is 
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. ene oidw .ytigalo Jesdaid eit of b9inrs9 wal 
é 2Of1qge9 LIsanoetsa {ls oebuloxs bas aot 

Ay e10m i pbaee bas sigsosdidois ai maseve eidt atdsiw tay bad 
i" % 0 Sakaatsed tdQile « sldtdqsoisg et anittataa bas sistalooa 
sousiseqgs Livi o¢ saoo o¢ ssw dadd .yousdast Batdastites sede 
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$2 eds to ofbSim od3 tuode ybsorls oels to - e130 io aoks 
ot misfo Sdt obam bad asw bonrsal sastrogm: yeov viutaso At 
m0 beesd soneioce & edivaslodoe sdt to yiorsoom sdt oF seoago 
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ch sel eid to wwod edd siden evijne af Qaisfakooa1 ,nor¢oma to 
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a fore: doidn eeeablod 's af .vecttizose eden of aaonsuilliw bef 

wbiviont ns tleasi aot davot oals si :eedustbaiA oa ot bab 
Somat 8 io ssbt adit doidw at ,motagexgxe ofdeters 
bas dtte te sdgiow edt wort Bossi 991% od zoiv 
1 8 820748 aud? .eaosa edd at belesids arssqas beebat 


ro vende! a vd 5 alla Oe | Re ae : t 4 


gh si 


(oid vlottasrar ae ces, pe ssoaensmof | 


a“ Hone eae it asm doidw bas ,bof1eq supeenamoS odd ai tae - 


“dtaeb edt sf{oosq edt at bsovborq .aldteaoa asbheauio sat shen 


| eee Wsvs 16 ak siwFo9didors dorsdo mt Boiactines oais asi’ 


it hae BeueLoveb 316 Yo sivse bovieeaos paentonis ue 


72 

Romanesove period; for in an infinitely higher degree the chu- 
rch, by Catholicism, the mind and the entire intellecual life 
predominated. The mysticism succeeded in its highest develop- 
ment in the Romanesque period, and which was perfected in med- 
itation on the internal communion with God, and the giving up 
of individual consciousness, finding such an impressive refle- 
ction in the harmony of the Romanesque churches, was dissolved 
by the philosophy of the scholastics, whose endeavors were to 
prove the teachings of the church as divinely presented, above 
all individual criticism, and to fix them in a system of form- 
ulas. bikewise of this the architectwre of the later middle 
ages gives a vivid reflection. The proper world of represent- 
ation departed; the entire strultural system was developed as 
derived in rigid seauence from the construction and e formal- 
ism carried to the highest clerity, which banned-oli! Giversit= 
ies and excluded all personal caprice. 

And yet within this system in architecture and still more in 
sculpture and painting is perceptible a slight beginning of t 
that refreshing tendency, that was to come to full appearance 
with the entrance of the following period, the loving observa- 
tion of nature. Yet also already about the middle of the 138 
th century very important learned men had made the claim to 
oppose to the monarchy of the scholastics a science based on 
experience, and to base this on a thorough observation of nat- 
ure. But the deeply religious feeling, that dominestedithat 
time, was not influenced by them; men were still more believ- 
ing then before. That unfortunate fervency of belief, which 
made the crusades possible, produced in the people the depth 
of emotion, recognizing in entire nature the power of the cre- 
ator, a true Christian conception of life, as it was preached 
by the newly founded and influential Order of Franciscans; it 

was also manifested in church architecture in an even unequal- 
led willingness to make sacrifices, in a boldness, which yiel- 
ded to no hindrances; it also found for itself an individual 
artistic expression, in which the idea of a Christianity stri- 
ving te free itself from the weight ef earth and toward heaven 
indeed appears chiseled in the stone. Thus arose a new, pure- 
ly theoretically conceived style of art, developed with the m 


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. “x9 Joa dgjuoit .tosfletar aswie® edt to nettssso s as ,znemtol 
99 ak igomqolevsh tasdaid ssi bagot oals 34 103 yfeviaalo 

. ong pisos bsatfoat asiqosq sxsosensa08 yleiuo odt ofidw .abasl 
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73: 

most acute consistency, that freed itself almost completely d 
from the national chahacter, and entirely proceeded from the 
Cheistian religion as the simple basal opinion of the mediaev- 
al world. It therefore became, not the possession of certain 
professed persons, but the common property of all; therefore 
its popularity, its deep penetration into the simplest room of 
the outlying corner. ; 

This art style was actually based on the Romanesque, whose 
finel results in regard to construction it adopted and extend- 
ed to all members. But while in the Romanesque style we per- 
ceive still the echos of theasantiaue spirit, the architecture 
of the later middle ages is based on principles, that are dia- 
metricelly opposed to the classical principles of art. The I- 
Italian writer on art, Vasari, a contemporary of Michelangelo, 
whose domineting conception of art entirely after the antique 
prevented ell understanding of its forms, gave it the name of 
Gothic style, combining therewith the idea of recalling the b 
barbarous and uncivilized Goths, an appellation retained until 
the present time, however little justification occurs for it. 


II. The evolution of Gothic architecture, 

Fhe Gothic style sprouted from the soil of France, yet not 
as essentially a product of the French nation. It appeared 
first in northern France, just where Romanescue blood was most 
strongly intermingled with the German of the Celts, Franks and 
Normans, as a creation of the German intellect, though not ex- 
Clusively so; it also found its highest development in German 
lands, while the purely Bomanesgque peoples inclined toward the 
antique in their entire art conceptions, and participated in 
its development in but a small desree. 

The Gothic style was already partially prepared for in the 
Romanesaue, the choir aisle, the richly subdivided pier, the 
system of ribs, the pointed arch in the vaults and the butir- 
ess. It matured into a definite system ebout 1150 in the mid- 
Gle river valley and north of the Seine, in the Isle de France 
and in Picardy. Here were combined the innovations, which had 
alreedy resulted in detali for a long time in various countri- 
€s, into a consistent, harmonious and @efinite whole. Here 
appeared earliest the mighty architectural spirit of a new pe- 


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ast bos ton .1ste bsllso-oe edt bedanteiao ydersds .Avowden to 
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74. . 
period, thoroughly permeated by a longing for heaven, which w 
willed the height, slenderness and brightness required by the 
House of God, in which the dead structural masses were inspir- 


vi,ed, the souls of the devout should be freed from the weight of 


earth and be elevated to ckearer heights. And therefore this 
also theoretically and structurally established the highest r 
requirements. By the consideration of the method and manner 
in which these were solved is also disclosed the understanding 
of the entire nature of Gothic and a copplete view of its cou- 
rse. 

Phe chief attention of the architects must naturally be dev- 
oted, first to make the vaults covering the interior as light 
as possible, then to reduce the supporting walls and architec- 
turel members in dimensions as much as possible, and to so ar- 
range that in their dimensions and forms they correspond exac- 
tly to the functions falling to them. By the erection of the 
cross vaults with ribs (page 12) the entire weight of the ceil- 
ing was assumed by the ribs. fhe compartments between them c 
could be treated as than panels, and indeed be made thinner a 
and thus lighter, the smaller the seperate panels and gompart- 
ments of the vault. Therefore men soon proceeded to increase 
the ribs by the arrangement of hexapartite vaulted constructi- 
ons (Fig. 95), or by placing the ribs in the form of stars or 
of network, whereby originated the so-called star, net and fan 
vaults. (Figs. 106, 189). The continued increasing of the ri- 
bs again reacted on their thickness, when since the load ever 
became less, they could be made of comparatively likhter sect- 
ions. 

In full dependence upon the subdivision of the vaults, or of 
the ribs combining at the imposts, are the piersstreated. Fre 
om the round nucleus as a rule project round three-quarter col- 
umns. (rounds), that exactly correspond in location and cross 
section to the ribs, the larger ones to the cross aud longitu- 
dinel arches, the smaller to the diagonal ribs. (Fis. 96). In 
English buildings the supports of the ribs appear as slender 
round columns, between base and capital free from the nucleus 
of the pier, thus becoming “disengaged”, but later again unit- 
ed with it. 


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75 

Tf the ribs extending from the pier are increased, its subd- 
ivision proceeds eoually; the rounds are likewise increased, 
are separated by deep hollows or entirely conceal the nucleus 
and thus appear as clustered piers, on which the vavlt ribs in 
a manner are joined together and rise from the base. (Pig. 152). 

On the piers shaped as free supports rests only a vertical 
pressure, since the side thrust of each separate arch is eoui- 
librated by the opposite one. The combinations of pressures 


)yact otherwise in the outer walls at the points on which the 


ribs meet. Since the counter stress is wanting there, a stro- 


né side pressure acting outwards makes itself felt, and when 
galleries are lacking, this must be met by speciel constructi- 
on. On the external walls of the side aisles and of hall chur- 
ches, this was obtained in the simplest manner by the constru- 
ction of buttresses, which received the thrust of the vaults. 
(Fig. 100). 

More difficult is the problem for the clearstory walls of 
the middle aisle rising above the side aisles. No buttresses 
can be arranged for these, since to extend them down through 
the roof of the side aisle to the internal floor, or rather 
their construction from thence, would have injured the entire 
effect of the interior in the worst manner. Therefore men ca- 
me to the fruitful idea of receiving the pressure ef the vaui- 
ts on the tlearstory walls by a free arch and of transmitting 
it to the extended buttress of the side aisle. (Fis. 97). With 
the adoption of these flying buttresses (buttress arches) the 
Gothic style reached its full. maturity. Aside from the abbey 
churches at S. Germer (page 47) and S. Denis (1187-1144), whe- 
re the original buttressing is no longer recognizable with en- 
tire certainty on eccount of later changes, these are to be f 
found in their original condition on the cathedral of Noyon 


‘(completed 1167) and of the abbey church at Dommartin near Ch- 


alons (1153<1163). In this buttress construction, which was 
originaliy only executed in ashlars without ornamentation, the 
construction appears in entire nudityy. The external appearance 
of the cathedrals was sacrificed in order to secure the most 
advantageous treatment of the interior. 

The introduction of the buttress system coincided in the br- 


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76 

broadest sense with the Gothic structural principle requiring 

the reduction of the masses. Since the entire load of the va- 
ults was received by the buttresses and flying buttresses, the 
walls lying between these merely had to support their own wei- 
cht. The opening of the walls in favor of the arrangement of 

colossal windows was no longer opposed by any stetical reason. 
The cross sections of the buttresses may then be reduced upwa- 
rds in the same proportion as the pressure to be supported by 

them is lessened. As in them, there is also made in the other 
structural parts from below upwards a continued change from h 

heavy to light. 

The entire architecture obeyed the seneral desire for height; 
this is indicated by the pointed arch already prevailing for 
all vaults and openings, as well as the strong emphasizing of 
vertical lines produced by the buttresses and the entire subo- 
rdination of horizontal lines. The structure therefore ever 
became more slender; all proportions were elongated, and all 
architectural members were finally reduced to just the dimen- 
sions necessary for their purpose, until finally the entire 
buildings appeared as a skeleton-like structural framework, on 
which the masses diminish upwards. (Pigs.°98; 158). In the 
combination and the resulting alternation of the entire effect 
of pointed arches, cross ribs and buttress construction thus 
lies the nature of Gothic. 

)9 This matured state was already attained et the middle of the 
12 th century in the vicinity of Paris and in the French prov- 
inces lying further north. From thence the new style extended 
under the active fostering of the énfluential Oistercian Order, 
particulerly inclined toward the strict Gothic structural prin- 
ciples, over all France, through the Norman-English possessio- 
ns to the British kingdom, over Germany, Italy and Spain. Ev- 
en if in various lands and places the existing architectural 
traditions reacted, if the requirements of the Orders were ef- 
fective in other ways, and the school training and traditions 
in the different building lodges and even in the families of 
stonecutters led to various peculiarities, yet the Gothic sty- 
le still retained its international character. 

In its evolution may be distinguished three periods in gene- 
ral, that characterize the development, climax and decadence 


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bho ceck ,eqdoetidask dozwdd otdsod  .A 


-maf9 bavor? on? 
go1R96 geol sat 6 at aa fa bavors edt dbemiotedars atdso3 oP 

“ae eds heaisass qideiow to sbom sd? -PIgsouIFetsaue sat usdd 
bisse4 at eataemsutupes tasaeltcbh oa toe bed emis ad7 bus , of 
“pea een afodo edi zoi yin .kniguor® tiedd 10M ,2moor add od 
-i9 [sqtoaiaa edd ,eisibedaso $8922 sdt at ylus{aottsaq , bexiz 
af edt to woiv at ,aodetd odd to usito sonsbirsen aid aft asdouy 
_vastaefoos odd at aoi¢saqioitisa tfedd bus ygrelo sdt at sesex9 
| .608 ,da9mise1s asdot1 bas taetxe asds9%a 5 .estaomeiso Isotet 
ent bas eobseu1o odd yd bentssdo aotilex sis 03 sonsietor dvi 
_ sasdo to t9dmva Seasstoat ns ,etates to aoigsisasav 3atassioat 
: -setzsuptie1 bas atniee 10i sistis to saeadatldstes edz wot al 
-a8v. ToT sidtaesoos yilsiensy asnod berose edt siem ot t9b10 al 
hy a) oldest asife odd ai bsosig vilsteneg Wom sisw yodt ,aortsto- 
“9 wiasluser etoteisds asw sayzo sdT yaprentee aids tot boarsl 


‘ 
i 


-batsia 


ry beoubo1a al phy bed asig to asaya {is satwasdto que 
yilsidassedve dassgeisyeh raddivt sdf .botssa supasuamod odd 
me anottieiupos sd¢ mort besivas1 Jedd .enotssvosat boo 99R09 


; be ‘bateteacs {fs to tamti sasd? .atinev to taomtsets oidsod 


wa eads (astaaod fso99, to) eysd evouaidnos to aoivouboasai odd 
. a efdbin ods ak as lusy to sysd to 19dmva feope as gaisd 
oli i yes 220198: aved aslozastoo% ans gatosla ud) acleie 


vd medeva ap2sasmok betoiazesr edt wort wobsorti steiqnoo oddo.y 


b bas 2 ebsa 952 vaoleis ebie edd saimisgael 


77 
of the style, the early, high, and late Gothic. Yet a corres- 
ponding limitation in time can only be made with regard to the 
different countries. For at the end of the 12 th century, Pr- 
‘ance had already passed through its early Gothic, when thés f 
first set in throughout the greater extent of England; but in 
Germany the earliest works of the Gothic style originated in 
the second quarter of the 13 th century, and it first general- 
ly appeared at about 1250. Therefore we shall fully describe 
the periods to be considered in regard to the various countri- 
ES with the monuments concerned, and the characteristic stfe 
changes in the Chapters on the architectural treatment and the 
decoretive equipment. (Bages 82 and 97). 


A. Gothic Church Architecture. 
fhe Ground Plan. | 

Fhe Gothic transformed the ground plan in a far less degree 
than the superstructure. The mode of worship remained the sa- 
me, and the time had set no different requirements in regard 
to the rooms, nor their grouping. Only for the choir was req- 
wired, particularly in the great cathedrals, the principel ch- 
urches in the residence city of the bishop, in view of the in- 
crease in the clergy and their participation in the ecclesias- 
tical ceremonies, a greater extent and richer treatment, and 
with reference to the relics obtained by the crusades and the 
increasing veneration of saints, an increased number of chape- 
ls for the establishment of altars for saints and religquaries. 
In order to make the sacred bones Senerally accessible for ven- 
eration, they were now generally placed in the altar table, en- 
larged for this purpose. The crypt was therefore regularly o- 
Gitted. 

But otherwise all types of plan had already been produced in 
the Romanesque period. The further development substantially 
concerned innovations, that resulted from the acquisitions of 
Gothic treatment of vaults. These first of all consisted in 

aothe complete freedom from the restricted Romanesque system by - 

: the introduction of continuous Bays (of equal length), thus b 
being an equal number of bays of vaults in the middle and side 
aisles (by placing the rectangular bays across the middle and 
lengthwise the side aisles; see page 4: and sround plan in Fis. 


ytibas: atode: [saoaytog ods hintbascdk {Lite baa i 
id sigdud to motsouxtenoo odd bas etivav boddta ods ya 
 odat sotitasd asttetad glis§ ods dtiw bsoubousat .metaya evan 
-hotaeq oupasasm0d ads at bogofsveh bas aoisssilivio astterdd 
--9tdte8 odd to m1ot basora boeesaaxe edt boxtastoaredo ayswis 
- oetaeq sidiesoa sesdkid odd of tdguoad eaw si dotdw ai .dowsdo 
.asiq even 10 1tofo to batd 949 o¢ Bnibi9904”. .etedmvteve Lott 
-08 bediso~o8 sit jweseys ezidt af shem od-vam equow atax wot 
~sio).to)sfor's bas sleta atode dtiw wsla bauore ierbedtso sins 
.thodo to mroi 1siqmie déinw emedoe asoifiesd asiines sdt .aloa 
(oe oo 4,edefts sigaie a diiw seaodst bas ,asleie ows ddiw ensia 
-t09 beliso-oz sdt yd betases1asa et axot beqelevsd seom 3aT 
-qaio to sloito bas eleia atodo dttw aafq bavors Lerbedtss otd 
B nevee neve 10 evit ,e9%dt #8 Yo atetanos si .(88 .afB) cats 
gud) Qaisostoig bas belats sexdt tO eno etasans1s .avan bolets 
edt no Sniyt atodo s bas ,sveu edt Yo-oatl edd bnoved ofssrl 
“fog as{gks1 s ak aniboe bas slats elbbim odd to motsskacloua 
es betiiso 919w aslats.obie ife to a9mGt edt dotnw Sawoxs . 0k 
-ast1s ylisibes.s détw vlisatetxe bebas dotiw bos (ealake ttodo 
sew oleis satsvensat sd? .(G3E -af8) .efeqsdo to 9lorro bok 
Baols basics eetitemoe ozls alagaio ed? .betstimo yltagacert 
-wos svizesa ows ezids a9 .sbsost wistaew sdt of effew sven sat 
) @ s(1EE -22%) .eelete obte odd of seoaeiéas add 1946 344 ate 
97 sid? .fst1oq nism bendiesd ylbneaa edd asil medt seawteS 
- ylleaotesooo ai tud .elethedtes at basot plistds et asfa bag 
_ © .aedougdo detisq:at asve aemissnos bas ytetesnom at déiw tem 
emedoe asotitesd 1ebio sdt of aattedbs vlwrit sedorwdo sd 
4 edt 10% iaslq atodo odd yd vine yltetds meds mort asia bago1s 
 +dtiw ebne dasa aistesa ods ted .esodt mt a8 beniste1 ak sven 
aie edt ese isas0f on tant .oleis doee tck eeas [saokyiog s 
to tolredat sd¢ lo motdeantinos 6 s189eqgs Jud .edota a to 19% 
i ‘ot sometodbs aid? .dd8isd bas dsbtw omse ots dsiwjsisis oda 
ovesbas ditiw based sao odd no betoonnoa af asfq selemia odd 
oP -entmorg ot0n ilitvea baa ,ofdso8 daia oft at gotteottilanta 19% 
- -8mevom motes edd yd bovovst e1e% tds oiddoD age oad at ta 
x phat ee sacedT .ensotatwod edt bas essoarons1§ eit to eda 
> net aft bas .ydtevoa of atone ‘edd ai. vtinsttetadd 


af asiti6 yor? .alsrdsdtso tsex8 sdt of aotsstut tsdwomos 918. 


q 
‘ 
iw 
9 
pe i " 
nt” } 
i Je 
r ~ 


78 
6), and still further in the polygonal choir endings produced 
by the ribbed vaults and the construction of buttresses. The 
nave system, introduced with the Early Christian basilica into 
Christian Civilization and developed in the Romanesgue period, 
always characterized the expressed ground form of the Gothic 
church, in which it was brought to the hishest possible perfec- 
tion everywhere. According to the kind of choir or nave plan, 
four main groups may be made in this system; the so-called Go- 
thic cathedral ground plan with choir aisle and circle of cha- 
pels, the earlier basilican scheme with simpler form of choir, 
plans with two aisles, and those with a single aisle. 

The most developed form is represented by the so-called Got- 
hic cathedral ground plan with choir aisle and circle of chap- 
els. (Pig. 99). It consists of a three, five or even seven a 
aisled nave, transepts one or three aisled and projecting but 
little beyond the line of the nave, and a choir lying on the 
prolongation of the middle aisle and ending in a regular poly- 
gon, around which the inner or all. side aisles were carried as 
choir aisles, and which ended externally with a radially arrana- 
ged circle of chapels. (Pig. 153). The transverse aisle was 
frequently omitted. The chapels also sometimes extend alons 
the nave walls to the western facade. On this two massive tow- 
ers rise over the entrances to the side aisles. (Fis. 1381). B 
Between them lies the srandly designed main portal. This gro- 
und plen is chiefly found in cathedrals, but is occasionally 
met with in monastery and sometimes even in parish churches. 

The churches firmly adhering to the older basilican scheme 
are somewhat inferior to the great cathedrals. They differ in 
sround plan from them chiefly tnly by the choir plan. For the 
nave igs retained as in those. But the eastern part ends with 
a polygonal apse for each aisle, that no longer has the charac- 
ter of a niche, but appears a continuation of the interior of 
the aisle,with the same width and height. This adherence to 
the simpler plan is connected on the one hand with endeavors 
for simplification in the high Gothic, and still more promine- 
nt in the late Gothic, that were favored by the reform moveme- 
nts of the Franciscans and the Dominicans. These beheld pure 
Christisnity in the return to poverty, and in the teaching of- 


; > an ; a: 
a Ropar rey 
: : fe 
5 “yt —— —_ 


bata saivib edt Hb risa tetdo eds .Saids 


sdt°od aottaests 1a9t¢s012 bebasmsd ,ydias{gaog teorb gatvotas 
-ol afodo sdt¢ acd? .esdorsdo visio to easlq sit at suomede yal 
Ss s0ntS sbettino yloaitas asw si eomitemoe teoastioami at te 
od bebtosb sem .Batdossaq 10T besasbs saad bevoig moor sfkate 
~si06 ¢i¢ bovow ozis ,(0OL .2i%) smedoe dovedo {fed edt 192914 
“meds meemted sefisiisk beosia bas ietisetai oft biswodt. esages 
qstseah dsiW .ex0tibus sd? 16% soage sxom atetdo of t2e6t0 at 
Sidtod etefl at bseasq mobflee toa usm .posga aot asagmorivpe4 
ig ; -eedoisdo {fed dSefeia avti ot 
setich ton o2 beaoisnem e19610 Soidossig sit to t0ovesbas ad?t 
“ts owt to soitosite edt od bel coals. sosca 10% etnomsiiuesa oft 
~ie wol sao bas aisuw's to teddie tatenoo seen? .esdorgdo bole 
.ebta ono sod so beqolsveb soiiiesd es to wiet edd at slain 9b 
‘sedtiw dowsdo {[ad s To wi0t sommoo stom odt sayeaa nedt x0 
“oPometfs.erxes sti no Ratyd atodo s bas 2t10QGu9 to wor slbbim 
sbieed bekasits 918 eifodo beldyobd .ses0 eds visisi stom eB 
yd tstis sdt to wotv eds {[seoqgeo ton of tebso af .asdéo0 dose 


doidw ot .sayd aids fo mot teslamte odd al .easta to wor eds 


“neat odz yd besosts szod¢ yiletosqesa. .2sdougdo esorsMyn acoisd 
te 8 sud déiw —8iaiteod bas yosmten at anesginimoG bas egasosto 
-/90oefh* .moor Isqiontsq sisupe s Yo ofbbrm.edd a tTa1ogqna ef 
_ =ts aotie ot meteye eis to cotansixe as e1s0oso ylisaotsaqsoxe 
 -wdo8 as. ea 8 -atiods {[sotatemmye ows dtiw dowsdo Lisd bela 
Wie ae Le .(Lorg? edt at za 
 ytto seitene ods at elfu1 odt stot slats elaante a dtiw aasl9 
7 “19 dotwdo Iisd sid sisdw .eoass¥ ak dad ,2edoxpno yadasoo bas 
28 {fow ea .botteq enpeonswod sit at ybserts tovel 33928 devote 
eee #3913 101 seu ovat ome asve ,baslanG bone vissl .atea® at 
enbbeetane 9d¢ Io toette botitas ond medt al .eaatbhiiad Isxbs 


a ohorké Lh slelete stodo iste e{stbsdseo Jeera ads ao dauodala 

‘ie [sttneo\s ifsd 900 9d of axseaus t1sq atetase sdé 2loasdo to 
(~0q ofdso8 ods at ysirer.s o18 edatolind Leveneo ylerisas .osla 
edged edt at ylsse ytev beouborstat besbat siew sasd? .bots 
maine err vest sites, reavect +8 “re aseeriderd sag nt 


in > § 


‘apeataabies dtiw ydésamye tos1tb af eisw odw .emesiéio sat ba © 


cha ~-basis ef tofisdat 


—— 


79 
office typified by Christ’s Sermon on the Mount, thus in prea- 
ching, the chief part of the divine servite. On the other ha- 


“/nd the citizens, who were in direct sympathy with this Order 


enjoying great popularity, demanded Sreater attention to the 
lay element in the plans of city churches. Thus the choir lo- 
St in importance; sometimes it was entirely omitted. Since a 
single room proved bast adapted for preaching, men decided to 
prefer the hall church scheme (Pig. 100), also moved the buti- 
resses toward the interior and placed sgalleries between them 
in order to obtain more space for the auditors. With greater 
requirements for space, men not seldom passed in late Gothic 
to five aisled hall churches. 

The endeavor of the preaching Orders mentioned to not exceed 
the reaguirements for space also led to the erection ef two ai- 
sled churches. These consist either of a main and one low si- 
de aisle in the form of a basilica developed on but one side, 
or then assume the more common form of a hall church with a 
middle row of supports and a choir lying on its axis, if not 
as more rarely the case, doubled choirs are arranged beside 
each other, in order to not conceal the view of the aitar by 
the rew of piers. In the simplest form of this type, to which 
belons numerous churches, especially those erected by the Fran- 
Giscans and Dominimans in eermany and Austria, with but a sin- 
Sle support in the middle of a square principal room. Aliso e 
exceptionally occurs an extension ef this system to a four ai- 
sled hall church with two symmetrical choirs. (Church at Schw- 
az in the Tyrol). 

Plans with a single aisle form the rule in the smaller city 
and country churches, but in France, where the hall church en- 
joyed great favor already in the Romanesque period, as well as 
in Seain, Italy and England, even came into use for sreat cath- 
eGral buildings. In them the unified effect of the undivided 


interior is srand. 


Although on the greet cathedrals with choir aisle and circle 
of chapels the eastern part appears to be one half a central 
plan, entirely central buildings are a rarity in the Gothic pe- 
riod. These were indeed introduced very early in the Gothic 
(in the biebfrauen church at Treves, built 1227-1250), but th- 


inane wal vi a Aton tod “ott hel \s1stose tdors doxndo 
_ at bas. Bbasiga%  {eag2709 .yasmie9 at afsasdo aissis2 at 9006 
7910, odd awollot aed# asia basosg ad7 .esev0d isdaado dat lon 


-aideig) ti bavozs Saibuetxs elsqede to sloiio « ditw asoto As 


Mol s ditu sistowite Lsaoayloq sat 10 .{zever? ts doasdo agus Y 


-foqg edt oais 10 ,alsasdo Saitsibex begade-iste 10 aleis tetyo 
dewtaso cacdT .8altiuav isisans bos zeiq Isitaeo dtia aoay 
 sLeveb, dott edt sot aeitsians1oqge tas{leoxze bsbi0tis abaiblind 
eo +086 9k8q 962) .2tinev ast bas ton .tate odd Yo tnemao 
_Sednemtse1s I[aiatostiders agi bas Baibliud sdf IT 

-x9 dasy dove to bo® to asenod betsota aeks slobia ordtoam sat 
-veb ofw .etetesm bas sisawo sds teda dated emex1txe bas Jaot 
-o0, bivos a1cezsoone tosqtbh afedd déiw medt beoneamen Aus beat 
-d3 ,aoitelamos iteds ai medit 20tesa to saod sds niasisdas axey 
. 40 etovecbas seotas18 oft bertupss acttuosxe aLecks s98de61 te 
$e2 0d sol odd {fot abaihiived yasm ot bus .agotss19qeg Ls1evae 
“sd io @90esm dowe oF t1etex ton bib siddy bod  .bedetuitas ates 
eyeeis sud ,f0f199 supeeusmod odt ak betoesa siew es .ekaiblitr 
fofdw ao ,mainsato betouisenoo yiluterso .bevisouon ilew 8 of 
~ie1 Sattentetisa at soe asn r9dmem [aredostidors stsisase dose 
-om odd diiw wodd woul Os90055 esw tO .e4edto edt Ils of avits 
eft to tuo Aatysl steswoos ns stotesedT .vonsteieaoo atuos te 
_wdoetdiders to 920slwond s deiivgos1 efat buna .yrseasoes sew asia 
9819 943 dtiw sonsinierpos as Saiiisoxs. rei acttovrteasoe Lars 
_ ‘90% Ofat tdrieni gosb s, bas ,eg0 ysbyreve ai 2o1wbss01a Laois 
 ~iodoss datd oat tau, at I .ehatbited to eseitibaoe [soitete 


_ ~oasv6s 02 180 ai ,y¥sbod Jaomeasms besatrqxwe ddiw av Lfit teis 
_ ada Isaeoloo saodt lo woiv at .asasthaqxs i) brs&2% af sa6 he 
Pear qend ) setdeted gxstbh e.dowg of bazisy eaastos 
io patantess ous dtiv beonemmoo eo1gks00%g Leotadost odt sud? 
' -eybevieveg a9ed eved sasds to 2olqmexe avotusY asia ait to 
edt yd tididxe yod? .{.0%9 cunstY .wil. .wradasage .200109 20) 
 -{q) bayorg ods to oasiq edt s0 enotssvele t6 aedoseie aversa0n 
| bee1ev exstess ying. dsdt ,esail to Viitxefamos.ozash s dova as 
{ raiet at, Madd Oastereban bluoo acitstaseatae1 to Shon eds at 
bas eritomos® ,ovwdstubasixs bas sugdevbegp adasibouxe or tiga 
a pone: thattenus edinitsd bas Woitoss asblos ead peigonte tee 


ioe Tae CO ey 


t ,alsibedts2 ofds02 to ea1edeem istdo eds to egatissiebas Iso 


Mit) 
i 
ay 


89 
they could acquire no school-forming importence, at least in 
church architecture, and they but exceptionally found accept— 
ence in certain chapels in Germany, Portugal, Bngland and in 
English chapter houses. The ground plan then fellows the Gre- 
ek cross with a circle of chapels extending areund it (hiebfr- 


) auen church at Treves), or the polygonal structure with a low 


outer aisle or star-shaped radisetins chapels, or also the pol- 
yéon with central pier and annular vaulting. These central: 
buildings afforded excellent opportunities for the rich devel- 
opment of the star, net and fan vaults. (See page 86). 

II. fhe building and its architectural treatment. 

The Gothic middle ages created Houses of God of such vast ex- 
tent and extreme height, that the owners and masters, who dev- 
ised and commenced them with their direct successors could ne- 
ver entertain the hope of seeing them in their completion, th- 
at rather their execution required the Sreatest endeavors of 
several Senerations, and to many buildings fell the lot to red 
main unfinished. And this did not refer to such masses of bu- 
ildings, as were erected in the Romanesque period, but always 
te a well conceived, carefully constructed organism, on which 
each separate architectural member was set in alternating rel- 
ation to all the others, or was deduced from them with the mo- 
st acute consistency. Therefore an accurate laying out of the 
plan was necessary, and this required a knowledse of architect- 
ural construction far excelling an acauaintance with the prac- 
tical procedures in everyday use, and a deep insight into the 
Statical conditions of buildings. It is just the high techni- 
cal undertekings of the chief masters of Gothic cathedrals, t 
that fill us with surprised amazefient today, in our so advanc- 
ed age in regard to expedients, in view of these colossal str- 
uctures raised to such a dizzy height. 

Thus the technical procedures commenced with the designing 
of the plan. Various examples of these have been preserved . - 
(Of Gologne, Strasburg, Ulm, Vienne etc.). They exhibit by the 
numerous sketches of elevations on the plane of the ground pl- 
an such a desse complexity of lines, that only masters versed 
in the mode of representation could understand them. In scie- 
ntific expedients, quadrature and triansulature, Seometry and 
arithmetic, the golden section, and definite numerical propor. 


eds wei ettattoterss bene seek 48 yqu990 enottroqo1q 


ay < ot GR eas , 
ae oe. hye 4 
s ; hy ay! be. Be 
; y ey 
! ts : 


- Ieteteliups eit eeddagds otato® to mottoyitanoo bas euotenemtb 
off eft ar oisupe odd 28 s4sq suse ods yala ot eissaqgs alaasiat 
[sweu Senee edt at aaottsisolso (sorter? -eharbficd euoesasm 
“etfatteb aoqn bebasqeb neff .e5sm ton evew zotadosd arebom at 
~dost edt to tusq Istdo & bew1et Seds .aeLatoniaza (stasmineaxs 
“Tate o1ew seeds bas ,aekbol anibitdd od3 of aotsosiseni Lanta 
vd Sertotensas stow yedT .etsdmem-nom mort te1ose Jasx vito 
~bol gaibiiud ods aft notte19nea te20u0y sit'os eaoitibert {e410 
edd dviw tetel ted .eieadsuosaote edt to esifinet st bas a9 
bas ,m1ot Xood ai bext? yitisa oals er9w Snisatag to aotenatzs 


sesds° mote .emts 190 oF beviszexa yilsaoteasooo nesd evsd aude 


thited [svestbom anottstagee19e% ottetsae ont bas atatioaunew 
“ase odd to Sniblottsse add tadt o8 .bebedsoor1g anottovatanoo 2a 


bs61d oft to saw edd .Istretem Sad to Satniatdo sda 29TITON b 


hea fstens2 aistie> .eenote Bnitsee baa Saisvetod ror Losdw 

8 teat) ,beqofeved ete emosawo bas abodiem duiatenoy 9t9WwytS 

| -VYsbod sen ai t1eq at oels o48 
“Is Ofseit1s seenkid edt botsiwieg aottowrtenoos reides soate 

“HP enese tuo ovissm edt alsiaetsm es bastetesq ass .tuomtes 

“18 bee0so astio ardt to 8atavso1g sit .enotker gaoxstitd eda 

‘sds olfidw .¢200 daid vietsaottibaorgsib bas estsivotttib ss 


eDiets Smeisxe ody eafslaxe atdT .wol yiev stsw r0odsal to eskaw 


oyilsieqss edt tedd .sensaxs ods bas istietam eat to aotsest 
‘gem siedW¥ .beatepet snose sesisgse dose to hategsib (oterso 
“gsmted aston ods at ofqmexs tot es .edoetad ot batoittess stow 


“dt to yttorlamia teers oF sovloemeds simil seom ysdt .ebostwol 


wod Sontetsbao ysdd seY Lemxot Listsb edt to bas mseyea oat 
to eevitom sdt to ses yausd eds ¥d atoetts otbasfqa souborg of 
Q edt yd .aottosatenos yvadoesm o¢ ofdstovst .ebsors battd sat 
‘dotad yd ,ewobatw edz Yo eeqneolons eft to eaaibivon {yteosee 


 Sasm10% gatiieoas ylanseoe1t bas sif{-setsssf .betten ,asssiat 


Se he 


~{dsa eds to Snomtsert betrev yd bas (eatestaq (ataomento dasa 
bot T ‘ ; ¥ de. c .a ; 89 
,asatl aiem ati at exstonxte edt badtreesd vbse1ls svad of 
 alfsteb ati ot bisdeq nt viii stom an tt sa8g won ew oliaW 
(si Ud belleaaoo tdemtssis Lerssostidote edt asbteaoo [fede sw 
 ate¥ .d18 to mrt t9dso yas ni asat 292896 tegee19 tet 8 at 


ile \ b 0) td en ee oe 


8i 

proportions occupy an important place. Particularly in the da 
dimensions and construction of Gothic churches the eouilataral 
triangle appears to play the same part as the square in the Ro- 
manesque buildings. Statical calculations in the sense usual 
in modern technics were not made. Men depended upon definite 
experimental principles, that formed a chief part of the tech- 
nical instruction in the bhilding lodges, and these were stri- 
ctly kept secret from non-members. They were transferred by 
oral traditions to the younger generation in the building lod- 
ges and the families of the stonecutters, but later with the 
extension of printing were also partly fixed in book form, and 
thus have been occasionally preserved to our time. From these 
manuscripts and the artistic representations mediaeval buildi-. 
né construction proceeded, so that the scaffolding of the str- 


~suctures, the obtaining of the material, the use of the tread 


wheel for hoisting and setting stones, certain general and ev- 
erywhere remaining methods and customs were developed, that a 
are also in part in use taday. 

Since ashlar construction permitted the highest artistic tr- 
eatment, men preferred as materials the native cut stone in 
the different regions. The procuring of this often caused ger- 
eat difficulties and disproportionately high cost, while the 
wages of labor were very low. This explains the extreme util- 
ization of the material and the expense, that the senerally 
careful dressing of each separate stone reovired. Where men 
were restricted to bricks, as for example in the north German 
lowlands, they must limit themselves to Sreat simplicity of t 
the system and of the detail forms. Yet they understood how 
to produce splendid effects by the happy use of the motives of 
the blind arcade, favorable to masonry construction, by the g 
Sraceful mouldings of the enclosures of the windows, by brick 
friezes, netted, lattice-like and freouently recalling Norman= 
Arab ornamental patterns, and by varied treatment of the gabli- 
es. 

We have already described the structure in its main lines. 
While we now take it up more fully in regard to its details, 
we shall consider the architectural treatment compelled by it 
in a far greater degree than in any other form of art. With 


tas empeeb- headevlad: (hdvhuonattagesens | do-netecnbonsat! ous 
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eangioo tebasle gdkte 10 as0t dsiw eseloum asigotis 8 os bot 
Sat lo. saomsseis asdotx sdé déviw meds sud (LOL .8e ..eRte) 
~asented ewolfod gosh déiw 19tq Ssisseanio odt oF asagea edtluey 
"20 banor's yd ofdtop o¢sf ni bettifqmte nisks tad .abasow odd 
ak .e@nott¢xoqo1ag tebaele yiev dttw ttadea edt to mztot {snogetoo 
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od aofsiaasis sdé amrot .eseloun sd¢ bayors bassxe ona aber 
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evden edt wort sastdot bessois vwiisisdsa stiup dgiw bo4evo00 
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82 
the introduction of the continuous bay (pase 80) occurs a uni- 
form loading of the internal piers. The prevailing alternati- 
on of heavier and lighter piers in the restricted Romanesaue 
system, according to whether they stood at the angles of the 
squares of the middle aisle or between them, conseouently (wi- 
th few exceptions) gave way to an entirely uniform treatment 
of all piers. Their subdivision was limited in the early per- 
iod to a circular nucleus with four or eight slender columns 
(@igs., 96, 101), but then with the richer treatment of the 
vaults passes to the clustered pier with deep hollows between 
the rounds, but again simplified in late gothic by a round or 
octagonal form of the shaft with very slender proportions, in 
order to obstruct the view of the preacher as little as possi- 
ble. Sometimes capricious works are attempted, for example 
spirally rising thin rounds about the circular nucleus (Pigs. 
163). The piersstands on a polygonal or square base, beveled 
at the angles, that stops at top in hollows between the suppo- 
rts of the rounds. A very low and plate-like base, still rec- 
alling the sequence of members in the Attic type, whose mould- 
ings also extend around the nucleus, forms the transition to 
the shaft of the pier. (Figs. 101, 152). 

The columns extending on the pier as rounds here have a sle- 
nder and often very thin shaft, as a rule smooth and not dimi- 
nished, as well also as when employed as free supports. The 
capital mostly loses its original meaning as an erchitectural 
member receiving the load horizontally and transmitting it to 
the shaft; it rather appears as a strengthening and interrupt- 
ing of the shaft caused by decorative reasons, and therefore 
in the late Gothic with its aim of simplification, it is not 
rarely quite omitted. Its basal form is that of the bell, and 
so lenge as the abacus had not assumed the polygonal form, pro- 
jected beyond that. At first the conventionalized bud capital 
of the late Romanesque period remained in use. (Fis. 102).But 
at the same time was adopted the new and specific Gothic form 
of capital and (in Germany about from the middle of the 13 th 
century onward), it predomineted generally. The bell form is 
covered with quite naturally treated foliage from the native 
flora, particularly with oak, maple, holly, ivy, vine, rose, 


eS ny ae ee ee 


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83 
thistle and cbover leaves, that partly Srow out of the astras- 
al or appear to be loosely attached. To produce a more taste- 
ful effect when viewed from below and a better harmony with 
the deep shadows of the architectural members, the foliage re- 
~ ceived pattern-like forms and an ever progressing conventiona- 
lization by swelling out the leaves with strong accenting of 
the leaf ribs extending over the swells. In the best period 
may always be recognized the natural forms. But in the late 
Gothic originates that knobby, deeply undercut and withered 
foliege, which occasionally occurs in combination with entire- 
ly patural scattered or clustered blossoms and fruits, but ot- 
herwise all recollection of natural formschas vanished. (Pig. 
103). By the arrangement together of the capitals belonging to 
the separatec rounds on the clustered pier and the carrying of 
the mouldings and ornamental work around the nucleus, this re- 
ceived a graceful capitel course as its upper termination. 
(Fig. 101). 

The ribs rising from the piers retain in the early period 
the rounds in the hollowed angles, but replace them in high ej 
Gothic by pointed rounds with pear-shaped sections. The prof- 
ile of the pointed round at first has approximately the form 
of a circle with an attached fillet, but continually extends 
in depth, until at last (in the second half of the 15 th cent- 
ury) it contracts into a rectangular member with shallow holl- 
ows in each side. (Fis. 104). In the latest period to the ri- 
bs is frequently given the appearance of knotty branches or o 
other peculiar forms. The junction of the diagonal ribs at t 
the apex of the vault is effected by the boss (keystone), ins- 
tead of which an open stone ring freouently eccursa The boss 
is often richly ornamented by foliage, arms with inscriptions 
and figure scubptures. (Big. 105). The English late Gothic ex- 
hibits as a peculiarity long keystone pendants, held by suppo- 
rting iron rods, which sometimes are hung to two strong diago- 
nal arches spanning the vault. (Fis. 140). 

With the richer development of the system of ribs the const- 
ruction of the vaults also changes. In the hexapartite cross 
vaults already occurring in certain Romanesque buildings of 
northern France (Fis. 95), there is added to the two diagonal 


1 ' 4 * 
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84: 
arches a third arch set crosswise and passing through the apex, 
which was therefore particularly suitable for the Romanesque 
System, since the two smaller side arches lying in the arcade 


walls corresponded te the squares of the side aisles. But the 
> Gothic period soon passed over to star vaults. (Pigs. 106 a), 


fhis original form of cross vault by the freauenti subdivision 
ef the compartments by ribs, which represent the star form in 
the horizontal projection. Frequently instead of the cross v 
vault occurs a domical vault in hemispherieal form and passing 
through the angles of the vault bay, upon whose surface may t 
then be projected the ribs from the figure on the ground plan. 
Then the subdivision of long interiors into separate bays can 
still be retained. But the transverse arches are almost alwa- 
ys included in the figure and thus lose their original import- 
ance, receiving the same size and mouldings as the other ribs. 
hater the division of the vault into bays was entirely omitted; 
the transverse arches disappear or seem unimportant portions 
of a network of ribs uniformly stretched over the entire inte- 
rior. Hor these netted vaults the surface of the vault forms 
& tunnel vault intersected by small pointed vaults at the long- 
er sides. The network of ribs is then first drawn on the gro- 
und plen in straight lines, afterwards being projected on the 
surfaces of the tunnel vault. But the late Wothic with the 
high development of technics and the purpose of undertakings s 
show pieces also at last abandoned the straight lines and rep- 
laced them by curves. In this manner were obtained the ribbed 
vaults with doubly curved ribs, soon such favorites. (Pigs, 107, 
161). Very freauently in the late period resulted the connect- 
ion of the ribs, so that they crossed at the intersections and 
were Cut off on the other side. If the ribs rising from a fr- 
ee support (pier or column) were very much inereased in number, 
so as to be grouped in form of an opened fan, then originated 


) the fan vault. (Fis. 189). This found a preferred use in the 


English chapter houses and in the buildings of the Teutonic 
Order of knights (Marienburg). In all these vaults the compa- 
riments were originally constructed with less and later with 
more swelling between the ribs (see pages 12 and Fig. 12). The 
netted vaults finally received an innovation in that the divi- 


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85 

divisions of the network on the Sround plan remained straight 
lines, but the compartments were replaced by high cloister va- 
ults (volume 1, page 106) or pyramidal raised celis, indeed 
almost with the omission of the ribs. These cell. vaults make 
a stalactite impression, especially for network with small me- 
shes. (Volume 1, page 209). They occur almost entirely in the 
late Gothic of the Saxon provinces (among others in the Albre- 
chtsburg in Meissen and in S. Peter in S8randenburg). 

With the enbichment of the forms of vaults chiefly with the 
purpose of decorative efiect, the thought returns to the cons- 
istent development of the construction. The execution of sli- 
ender wali columns is no longer an indispensable reouirement,. 
They were shortened, thus beginning at a small distance below 
the imposts of the vaults on corbels, or were entirely omitted. 
The ribs then rest on corbels at the wall sides (Fig. 108). 
Finally they directly pass into the wall surfaces or the round 
or polygonal piers without any transition member. (Hig. 161). 

Of the walls, in consequence of the great wall openings in 
hall churches, there only remained surface bands lying below 
the windows,with similar ones in the clearstory of the middle 
aisle of a basilican church. But also this part of the wall 
surfaces was then divided into the triforium (see page 20 and 
Pig. 109). The middle aisle therefore appears in four stories 
in the early period, so lonsé as galleries were inserted; but 
later in the best period it became only three story with the 
omission of the galleries. ; 

A particular development into perfected beauty was received 
by the windows. They chiefly lie in the middle of the wall 
with a strong splay downward, inside and outside. The jambs 
were subdivided in the richer treatment into alternating roun- 


beds er peinted rounds and hollows: they were always covered by 


a pointed arch in the early and best periods. In the clear 
surface the last remnant of the wall opened in the triforium 
disappeared in a stone tracery with the highest charm. The 1 
Lower portion of the window forming a rectangle is subdivided 
by numerous mullions rising vertically from the sill, and in 
tympanum of the pointed arch this passes into the tracery ( 
(Fig. 110), the perforated stone slabs exclusively designed 


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91s -bae beyslae yiano1se 918 sdasi, odd .boiteq Ssupeensmo’ odd 
-betakog texsl) ebav01 10 eomaloo sitsid 10% ,bem10t ylaslinte 
astto et aataeqo sonstins. ef? -ewollod diiw etsarsdis (ebau0n 
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a eee omen -terter at eerererrcerrt to aot 


Ca 


86 
with compasses and ruler, which artistically correct the mulil- 
ions. The drawings are chiefly composed of pointed arches, 
circles and trefoils or quatrefoilsarches, in which by tangen- 
tial cusps projecting inward, are again fitted smaller and op- 
trefoil or quatrefoil circles. (Pig. 111). According to the 
number of bhe latter are these figures termed trefoil, quatre- 
foil or polyfoil. In the second half of the 14 th century the 
tracery was enriched by a peculiar recurved and elongated two= 
sided figure with two cusps, which recalls the fish’s air blad- 
der andbhes also received its name. (Fis. 112). The late Got- 
9 hic makes the most extended use of this new motive. By inscri- 
bing the fish bladder within the circle arises the three, four 
and polypanel. (Fig. 118). If there are three or more mullions, 
these often alternate in size (old and young mullions), and 1 
likewise in the tracery are found corresponding main figures, 
within which are arranged the smaller ones. The mullions and 
the corresponding tracery ribs always have the same section, 
a projecting round in the early and the first part of the best 
periods, which as a slender column against the mullion is fur- 
nished with base and capital. (Pig. 111). Later the rectandu- 
lar bar with nollows on each side became generally common. #x- 
tremely richly was developed the tracery of the wheel or rose 
windows. They are native in France and there belongs to the m 
most splendid parts of the cathedrals, on which they find a p 
place on the most prominent part of the facade over the main 
portel. In Germany and England as a rule, a pointed window w 
with many divisions is arranged instead of them. (Figs. 131, 
98, 142). The famous rose window of the minster at Strasburg 
follows French influences; it has a diameter of 45.9 ft. 

The main portal is treated with Sreat magnificence. As in 
the Bomanesgue period, the jambs are stronsly splayed and are 
similarly formed, for little columns or rounds (later pointed 
rounds) alternate with hollows. The entrance opening is often 
divided by a middie post but retains the rectansular form. fF 
The pointed tympanum thus produced is intended for the recept- 
ion of representations in relief. bikewise in the richer dev- 
elopment are statues inserted in the hollows of the jambs, ea- 
ch one of which is covered by a Canopy, which at the same time 


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87 

serves as a corbel for the fisure above it. Thus they form a 
continuous series, that ends above at the vertex of the point- 
ed arch. (Big. 114). Directly above the outer angles of the 
pointed archivolt sSenerally rises a steep ornamental sable ad- 
orned with tracery (tracery gable), by which the portal is par- 
ticularly accented. In the richer treatment the tracery sabl- 
es are also found over the windows. (Fig. 115). The sreat ca- 
thedrals generally have two other and sinilarly treated side 
portals on the axis of the transverse aisle. 

In the external architecture the buttresses are first appar- 


Oent. They seem like strong supporting walls projecting from 


the face at those points where the bays of the vaults meet and 
the ribs unite in the interior. Gorresponding to the pressure 
diminishing upwards they are offsetted several times, furnish- 
eG with shed-like covering slabs at the offsets and covered at 
top by a sgablet. At first entirely constructed of ashlars wi- 
thout ornament (Fis. 100), in the best and late periods, espe- 
Cially in moderate forms, they were ornamentally treated with 
mouldings, blind tracery and niches for statues. (Fis. 116). 
When receiving flying buttresses and in order to increase the 
resistance to side thrust by loading at top, they mostly rece- 
ive an extension like a pier, at first covered by gable slabs, 
but later terminating in & steep square pyramid with the form 
of a small tower spire. (His. 116). Thus is derived from str- 
ucturel ideas an architectural member, indeed occasionally ap- 
pearing already in late Romanesque and Byzantine art, but new 
in this application and very characteristic of Gothic, the fin- 
ial as a little ornamental tower, consisting of the slender r 
rectangular “body”, frequently opened to receive a statue and 
covered on all fovr sides, and the “finial” rising like an ob- 
elisk (“risen” from English to rise). These finials crown the 


-/ buttress and the junction of the flying buttress with the wall, 


fiank tracery gables, and at last also find a purely ornament- 
al use as an aspiring and resolving motive, particularly on t 
the offsets of the buttresses and gables, sometimes even on t 
the oblique slopes of the latter. The flying buttresses at f- 
first have the simple structural form made of ashlars, but are 
later splendidly decorated by mouldings and tracery. Hor five 


botqur en bettogave ‘eo o18 noid ens la berets | 
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88 
aisled plans they are mostly supported or interrupted by inter- 
mediate piers, placed above the internal free supports of the 
Side aisles. 

Aside from the tracery Sables soon (in France after the mid- 
dle of the 13 th century) generally employed above the windows, 
the external wall surface lying between the buttresses receiv- 
ed only on very rich buildings, and then almost entirely on t 
the main facade, a further subdivision by trifcriums and blind 
Salleries with mouldings and tracery, that either appears over- 
laid or free before the surface of the wall. The latter tode 
of treatment has a prototype in the Romanesque art of Tuscany. 
(Page 51). Transformed into Gothic moulded and tracery decor- 
ation, it is particularly favored for the resolution of large 
surfaces of gables. A particularily rich ornamentation was re- 
ceived by some Sreat churchebuildings in France and England, 
(Notre Dame in Paris, cathedrals of Rheims, Amieys and Litch- 
field), when on them is insested beneath the story with the r 
rose window a continuous gallery containing statues, the gall- 
ery of kings. (Figs. 128, 144). 

The subdivision by horizontal members is almost entirely lin- 


ited to the low and but slightly projecting band above the pl- 
2inth, the band below the windows, and the main cornice border- 
‘ing the base of the roof. For the profiling of all cornices 


of bands is characteristic the beveled projection under half a 


cut hollow and the water drip, i.e., the upper surface stéeply 
sloping outwards (Pigs. 117, 118). In the best period the ma- 
in cornice was preferably enriched by a foliesge frieze. Above 
it and along the roof.sgutter (in France after the the second 
quarter of the 13 th century) extends the balustrade, frequent- 
ly ornamented by the addition of figure sculptures. Sig. 118), 
The English buildings and those of the north German brick Goth- 
ic are crowned by a_row of battlements instead. (See Fig. 147). 
fhe roois rise steeply and high above the main cornice or b 
behind the balustrade or battlements. Over the middle aisle 
the form of the sable reof continues in use, which terminates 
over the choir in a hip roof corresponding to the polygon of 
the great plan. The shed reof no longer appeared suitable for 


4 iS A ba 


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: ‘ Pus) 
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89 
side aisles. It was replaced by transverse sable roofs erect- 


ed over the separate bays, and in view of the better removal 
ef rainwater and snow not infreouentiy passed into the flat t 
terrace roof. (Fig. 166). Also on hall churches men generally 
of the entire bay by a single lofty Sable roof and its heavy 
appearance by the arrangement of transverse gable roofs over 
the separate bays with hip roofs or gables alongs the sides. 
In north Germany and Bolland there is found even lengthwise a 
gable roof over each separate aisle. The Sreatest attention 
was paid to the removal of rain water. It was collected in 
carefully cemented stone Ssutters, ded down the tops of the 
flying buttresses over the side aisles and cast far from the 
walls by the Sarsoyles, shaped as distorted and fanciful human 
and animal figures. (Pig. 119). 

The exteriors of Gothic churches on both sides and the choir 
only appear as an architectural covering and decorative treat- 
ment ef a building skeleton, developed for pure construction, 


~ $0 that it rises in the facades and the architecture of the 


towers to an extremely monumental treatment, uniting the whole 
in a Srand general representation. The number of towers is 
less than that of Romanesque church architecture. (Phe cathe- 
dral of Noyon, completed 1167, still has four towers at the a 
angles of the western facade and between choir and transepts, | 
and that of Laon of 1174-1226 exhibits -- perhaps with regard 
to their effect on the finely located and elevated square -- 
even seven towers in one Sroup, which is a prototype for the 
German cathedral at Limburg-a-L. (Fis. 9). Most Gothic cathe- 
drals are limited to two massive western towers or even a sin- 
gle tower erected over the main portal on the longitudinal ax- 
is, and a small wooden roof turret above the crossing. 

On the main towers may generally be distinguished an elevat- 
ion divided into three parts; the substructure extending in s 
several stories above the roof or the ridge of the middle ais- 
le, the bell story opening with great sound windows, and the 
spire rising ebove this in the form of a steep octagonal pyra- 
mid. They ell have a square pase, have massive and frequently 
stepped buttresses at the angles, which finally terminate in 


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; 
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99 

canopy structures or finials, behind which the basal form of 
the upper part of the tower changes into an octagon. The spi- 
re was originally built with a solid wall (Fig. 120), then be- 
ing constructed of slabs with slot windows or with openings 

in the form of open foils. (Page 88). Finally it was entirely 
resolved into open tracery. (Figs. 98, 158). At the edges of 
the tower pyramid adhere crockets or angle flowers, that seem 
to travel toward the vertex and thes complete the restless up- 
ward movement. The oblique edges of the Sables, tracery sabl- 
es, finials, and generally also the flying buttresses and but- 
tresses are beset by these crockets. At first they have the 

» form of opening buds with knobby enclosure (first on the cath- 
edral in Laon), but then follow all style changes of Gothic f 
foliage ornamentation. The topmost crowning ornament of the 
tracery sables, finials and towers is always formed by the 
cross-flower, that consists of four crockets grouped around 
the apex of the spire, frequently arranged in two or several 
rows above each other. (Figs. 121 a, 121 b, 122). Thus the 
exterior of the Gotbic cathedral, like the interior, appears 
as a highly individual architectural creation, in which the 
resolution of the masses is carried to the extremest limit of 
possibility, and in which a powerfully expressed life pulsates 
in all the members. 

In the stage attained by the climax of the Gothic style,this 
represented itself as an organism without gaps, as a system ma- 
tured in the least details. Hence it was also capable of no 
further fruitful development. The forms gradually withered. 
Already in the second half of the 13 th century occurred (in 
France) the first indication of the downward development of t 
the style in appearance by the strong emphasizing of unimport- 
ant things, en inclination toward the picturesque and endeavo- 
rs for freedom from the law restricted to mathematical consis-— 


Ss 


tency. 
With the 14 th century then appeared (in France) the expres- 
sed late Gothic. fhe choir lost its importance. It was pref- 
oe erred to omit the transverse aiste. In the structure the type 
of the ball church won preeminence. [In stead of the clusteéed 
pier occurred piers with octagonal or round cross sections. 


| ni Lite ays asad beks ins othe) 1 AGO OGS vende coal’ ah 


ivthdue bas aottovrtanoo ed? .alstiaso tuodtinw adia 

ay vilsex bas betaine a8 to aoitinacoss edt timiea yadt :boat'tes 
'_=g0096 [evom bas asdeia wode isciadoot ai tasmyotas Lsotnedoom 
-96 tieay ten edd akatiies sd¢ ol .(68h .253) .tusuteous avits 
& bevaso eldvob edt otab boaesa nooe dotdw bas Slut sit siso 
-fe001 adi1 to dsowtea odd ylozax sow. .(f£S2) SOL, .aatG) adits 
-emos oais tf tod .ewobniw edt to yvieosts exif gusutasit 3 bev 
“eet off -dzow bodoastd visond otat vistitns batsisneash asmia 
‘Yo sos0% 9d¢ bad wegaol on alien oft to asezam edt to aorsulo 
edt m& akatneqo [lene edt dtiw ‘olqioutzq basik smetqae odd 

. .e9oaTive tearel stoi o¢ acttantionk 9ed3 botseaqas allen 

“91 ai ti <foisaos besimitlaw at enismea isza0f{ on dows besatog 
2kd409 etel edt 10l siteiissosisdio of .do1ws ss%0 odt nt bavans 
edd to stot sdt setsuimod yloseiqnoo doidw . (ast -2iF ak A) 
a “eat edt Das ,eetdgomso to ekntawor edt to .sldek yrsosad 


1 le ee a 


bas avobaiw ao baa .eyawtoob ao (8) dors boreblyode tdoisude 
wok ed¢ (9) dows bao (Isottqilis) becee1a4b add avewtoob 
bas *4) actors (xistiso) Settevat edt bas .(4) dots Latngmass 

e otdrod otal done1d ads 10% .ymoxs? ai sviten yiteidy .(*4 
8 .Ottzizesoerede ("F bas *%) dows (69188) bersatoD-bavor |dd 
| odd .foas bedutog sds to mzot bseego1geb s daifan¥ adt 10% bas 
i ak asbbsid datt edt 21uo00 y19081¢ edt al .(9) .dors tobuT 
ads ediaed eistteg ant to admst sdt 020 .eaotastisy ottating 
te Sosatasai ¢edé ebavor Lisme dbavot nists 816 abasor dbecatoa 
i: “28g oats eactbluom sifdas odT .(S8E 1.859) .asoistel airl aos 
o ‘{isme ao basta ebayor odT .enoitoeaisdai asa0dt at stsqiois 


= ee a Te *S 
a - 


“er | -aotult begeiws vllestaa vd to .eantosfretat bas Jiows9ena 


“Leastouxte edt 5a ast ooc beiais0 yifeatt et Bbsisanole base 
| \Btelooro .eredmem Istgomsaz0 od? .beaesiqque et slqioarsa 
asin te 8s Iseqas bas ‘Vise emooed edit edt bas arowolt-2aoro. 
stom Llscem sesl ws bas tennide eno09d tevs alaiait ed? .ba19 
-t , hey seats ‘owas othnts 8 vlao tilereae stow te 


git 
e +h. 


wwisosad to atioa Ils yd betsio0e6 918 tedt ,a2sasd Isorubativyo 


id doth 2oioi109 tasbascebai alatzog ad% sioted haste yitasgo Re 
e ai teat -8i%) .goktstooeb berusalvoe bas LIatasusar0 dasdoia ~ 
', ee ‘aebasle sas to aotvstagastqss 3it exutostidors Laaisdéxe oat 


oat 8808 otat eem0o atsks dots oauor (asivoris) sit st obtae9 4% 


St 


91 
Where they were retained, the rounds pass directly into the r 
ribs without capitals. The construction and subdivision are 
refined; they permit the recognition of an animated and really 
mechanical enjoyment in technical show pietes and novel decor- 
ative treatment. (Fis. 123). In the ceilings the net vault be- 
came the rule, and which soon passed into the double curved r 
ribs. (Figs. 107, 161). Not rarely the network of ribs recei- 
ved @ treatment like tracery of the windows, but it also some- 
times degenerated entirely into knotty branched work. The res- 
olution of the masses of the walls no longer had the force of 
the supreme grand principle; with the small openings mn the 
walls appeared the inclination to form larger surfaces. The 
pointed arch no longer remains in unlimited control; it is re- 
curved in the ogee arch, so characteristic for the late Gothic, 
(A in Fig. 124), which completely dominates the forms of the 
tracery gable, of the crownings of canopies, and the like. 8B. 


2/4, Beside it the (circular) round arch asain comes into use, the 


straight shouldered arch (B) on doorways, and on windows and 
doorweys the drpressed (elliptical) round arch (C), the low 
sesmentel arch (D), and the inverted (curtain) arches (F’ and 
FP”), chiefly native in Saxony. For the French late Gothic is 
the round-cornered (eared) arch (F’ and F”) characteristic, a 
and for the English a depressed form of the pointed arch, the 
Tudor arch. (G). In the tracery occurs the fish bledder in i 
infinite variations. On the jambs of the portals beside the 
pointed rounds are again found small rounds that intersect at 
top like lattices. (Pig. 125). The entire mouldings also par- 
ticipate in these intersections. The rounds stand on small ¢ 
cylindrical bases, that are decorated by ell sorts of tracery, 
network and interlacings, or by spirally twisted flutes. Fre- 
guently stand before the portals independent porches with the 
richest ornamental and sculptured decoration. (Fis. 150). In 
the external architecture the representation of the slender 
and elongated is finally carried too far and the structural 
principle is suppressed. The ornamental members, crockets, 
cross-flowers and the like become stiff and appear as if with- 
ered. The finials ever become thinner end at last recall met- 
al works. Generally only a single tower rises above the port- 


‘aS ele Alas iis Oe 
tteav yLesotvera & of abinhiy iésued edt to teseoe 
2 ixe tnomtse1t evits10096 bas Lsoindost svidne siF 
318 to anal totita ylrem10t eit mort eomabashebnt svisearz07q 
.uaot to faemtse1t otidas sit ai modssdt gatonsvbs yitastenoo 8 
~ bedtsewd yoserls eft oldsod steal sds teds ew ewote ylrasio #1 - 
ebgel tedt .eo26 elbbim ont of aatetot tfatve wom edz yd aoay 
“(Ode Yo -sonsaafeqed edt bas matdiemed of 


f 


-Taemg tape evitsiooed sd? .IIT 

~aad Isotitsnosg 8 #0 Rathascsh emi0t Ledacmento ade eebies§ 
t hemtasis ([sivtostidors ott -worl Batsiwaex vidoertb bus et 
“ esmait bas tnslq at begoleveh snemanno situa edd ,yisose1s sag 
| onpasasmod to dtisew ed? .js18sq tespom s ylao aveia esvitom 
to agaioslsosai hestisnottaevaoo bas enottstoos essiat ai tas 
-t08 edd mi goumitnoo tegs0f on serait cevowtetni dtiw ataslq 
~t40ami as o¢ absel etutsa to tasmyotas aommon sig Ti ot .otd 
-Istosea esivo to aotsaobs odd oF ylasivotesaq .n0ttsvoani tas 
toll ,8m10T to mofessiqxe Ofsartiis sdt at sasilot betssi1s vi 
\ _ <aistiog to,adust sdt .esotgato9 no gals sud sistiqss ao vino 
ids ,es0staua to alensq Sseofoue at bas emuasamyt tasoev at 
. -visou $d¢ Qnom&A .aofeasiabs bawvot tnemsaxe taalq bas azailot 
-ud bas etoode edt Saitasesias: seeds .aottadiai 19% nsrods 20 
-Levab (isis asdd itovst 19dse12 Ssyotas mobanti toala sit to 2b 
~Ta9mt Gisn 9d5 o¢ gotismixorgas sdt ylsuegoo14% .emioi bege 
ae: eittas ed? .anit¢aisa yd beonsdas nove esw aoiaas 
-slq bavieonoo ylisasdsn view aids yd botsnimob ai ovtdtoQ to 
aS 4 beouborsat vilssbsi bas bofisg teed sdt al .énsmsato ta 
’ oe 9900 em1ot [sistoetidore add to doisiteass siti-giettsg sig 
.Sdontse1s {ssaomsaom 10% tovesbas adt dstiw bas boeatssdo 
se1u09 edt af ..gotveséloisasvceo (G5 sgsq) bsdixvoasb ybssrls 
aunded mort neast son0 ,febom edi to soitsalfoos: odd doidw io 
% “ode xiao .(88 ae) -aisequseth yloattas teomis ,yfstos1ib 
, to somant edt bas eletzog | sdt ao offto® stsi sit to sasdq tasi 
% tics 8 sail 1s99g8 dsat .edoasrd , yddoni eyolgus atsks alsasgq 
t edd to aoitaoere od? shoo isiutea yttond to aoitesiat to 
248 yrolod mort toetiea ed¢ Yo stemises etuos edd ,t#omsaze 
dt _Satbroo0s anotensuth edt to angtsaogo1g eit to ante 
vaanied 5 oad maNelaptnnas ur  sotsaool edd ,920q1 


92 
‘portel of the western facade to a previously unattsined height. 
fhe entire technical and decorative treatment exhibits an ever 
progressive independence from the formerly strict laws of art, 
a constantly advancing freedom in the entire treatment of form. 
It~ clearly shows us, that the late Gothic is already breathed 
upon by the new spirit, foreign to the middle ages, that leads 
to humanism and the Renaissance. 


9)  JII, Phe Decorative Hauipment. 

Resides the ornamental forms depending on a geometrical bas- 
is and directly resulting from the architectural treatment, t 
the tracery, the pure ornament developed in plant and figure 
motives plays only a modest part. The wealth of Romanesque 
art in frieze decorations and conventionalized interlacings of 
plants with interwoven fisures no longer continues in the €ot- 
hic. In it the common enjoyment of nature leads to an import- 
ant innovation, particularly to the adoption of quite natural- 
ly treated foliage in the artistic expression of forms, Not 
only on capitals but also on cornices, the jambs,of portals, 
in vacant tympanums and in enclosed panels of surfaces, this 
foliage and plant ornament found admission. Among the motiv- 
es chosen for imitation, those representing the shoots and bu- 
ds of the plant kingdom enjoyed sreater favor than their deyel- 
oped forms. Frequently the approximation to the naturel impr- 
ession was even enhanced by painting. The entire early period 
of Gothic is dominated by this purely naturally conceived pla- 
nt ornament. In the best period and gradually introduced by 
the pattern-like repetition of the architectural forms once o 
obtained and with the endeavor for monumental treatment, the 
already described (pase 85) conventiolazation, in the course 
of which the recollection of the model, once taken from nature 
directly, almost entirely disapvears. (Fig. 126). Only the 
last phase of the late Gothic on the portals and the frames of 
panels again employs knobby,branches, that appear like a dire- 
ct imitation of knotty natural woods. The execution of the o 
ornament, the acute estimate of the effect from below, the jud- 
ging of the proportions of the dimensions according to the pu- 
rpose, the location, and particularly the progressive enlarge- 
ment of the details with their increasing heisht, deserves our 


: rl F ar 


+ teal Say Ser tacg pebduth el 


a 3vi io oot Tperacink Ato" issnananto edd sebteeG 
| ia AA Gatvabe ‘ed¢ 44 .eodorsdo ofdtoR. to aoitarodsb sda ai 
ii _ .fesaeod) eenoteyed bas esbsiteufed mo esigkit sd¢ bas aslvoa 
-daid @ of e201 ti tee .metdors istasmanto giteido s beyios Ff 
edt ,alasiog edt doidw itiw .asudste edd ai bas ,motsavono9 13 
~atade as bsteext elaiatt eds das (ena) eoveste to eetastisa 

od bel awollod wouwtes odd otat eoutate Yo notessamos edt as 

“as of3 wor% -acibod edd to anvittoco1g betsgnols uitsers oot 
odd oF eoouenstex Raisotasess sasdg mort Beast sext. of aovaeb 
~03a setwobie siuxeit edt Osebat hbenisiqxe od yam sxetoesidots 


-a79q at medd of Quttasn ei ssd¥ wo 1watt ofdso@ edt of ret lu 
10 saudqluoe to sitow evpitaa edd of noatzsqmoo at vénsed (eao 
eds vd beoslqea ylsnoupert at .smut¢eoo avitsa oid yd teol ety’ 


oid atesifasm ylivi yisv isd¢ .ea0at sds ak tdg00dt sviasexexa 
| edd al .yditetnonttace biswot bentLonat es smiz odd Yo gartisat 
-abasds yitetdo eax o1ntaloos to daa edt e2edorsds to exoimetai 
edd bas .ersiie .2as9708 beer ,etiaing edt dtiw betavoso vita 
ANSI .BiF) botsea ofado® ont of aaddqoled sols 29 lountedad 
wod .awodea qiantdiasea at weds 19 .tasutsers isd0ts risds at 
“43 yléseatd saw etasoesidors at begolaveb emiot to esitsa st 
eat bas ytatstie0 oftetd1e sd? esas tosim sdt¢ ot bovietaas 
Geigzaistero yisaoupe1t tedt .eliessb Ila to tnemtsors antmiado 
oe dastiasm ,xedoimds ogalfiv sesiiswe edt aove at atiow 1teds 
“bee tae sdt to eota Safynsb-ilee bas fidist satved edd ¢xlsant 
-esks ofb 

bib gt boobal -2nisateg toatts yidsiovsl ton bib otdtoa oAP 


a ~axe o¢ ti ybsoxls eonte ,tasusnro bsseloo sostea yistitas: ton 


dtin, seeeod bas adit .aissias® .enmuioo oda besaisq yisviaeor 
--9a¢ tot to@ .tostts ziedt soasdas of 19610 gt arolos better 
~sm31 q93nol om o19dt .bnitaiesa oose1T rol (enogiasamoo aesrel 
ede to# 18 at9ds100 ai sesei ts .neostaue bebsetxe vas beat 

f ~Loeer, ylexitas sa0mls ased bed eista edd woengod rsostiua [lew 
4 _ tivsyieds dae .emvingtias ods bas edaineqo wobatw sit vd bev 
Goa ‘suolderasasxcoxetesatos tot botiveas qiteom sien ataomsrsqmoo 
, 


een ylbneis c1om sdé doum oe suS .#ibted atesdt to dauooos no 

battate cesta edt .¢48 eidt to dousad Iaiosge s bagoleveb 

oT isin awobaiw betagoce bor19eq supasnsmod edt at ybseula 

dot Ne 9d SE IdRGOTd Ofdt09 odd Sud. jeorsait to enottetns © 
A eae a a tL oe ee 


93. 
hishest astonishment. 

Besides the ornamental work, sculpture took an active part 
in the decoration of Gothic churches. By the carvings of gar- 
goyles and the figures on balustrades and keystones (bosses), 
it solved a chiefly ornamental problem. Rut it rose to a high- 
er conception, and in the statues, with which the portals, the 
galleries of statues (kings) and the finials treated as shrin- 
es. The compresion of statues into the narrow hollows led to 
too greatly elongated proportions of the bodies. From the en- 
deavor to free itself from these restricting references to the 
architecture may be explained indeed the flexure sidewise pec- 
uliar to the Gothic fisures. What is wanting to them in pers- 
onal beauty in comparison to the antique works of sculpture or 


“jis lost by the native costume, is frequently replaced by the 


expressive thought in the faces, that very fully manifests the 
feeling of the time as inclined toward sentimentality. In the 
interiors of churches the art of sculpture was chiefly abunda- 
ntly occupied with the pulpits, rood screens, altars, and the 
tabernacles alone belonging to the Sothic period (Fig. 127), 
in their richer treatment. On them is strikingly shown, how 
the series of forms developed in architecture was directly tr- 
ansferred to the minor arts. The artistic certainty and the 
Charming treatment of all details, that frequently distinguish 
their works in even the smaliest village churches, manifest so 
justly the loving faith and self-denying piety of the high mide 
dle ages. 

The Gothic did not favorably affect painting. Indeed it did 
not entirely reject colored ornament, since already it so exp- 
ressively painted the columns, capitals, ribs and bosses with 
varied colors in order to enhance their effect. But for the 
larger comparisons, for fresco painting, there no longer rema- 
ined any extended surfaces, at least in northern art. Hor the 
wall surfaces between the piers had been almost entirely resol- 
ved by the window openings and the trifoariums, and the vault 
compartments were mostly unsuited for painted: representations. 
on account of their height. But so much the more grandly was 
developed a special branch of this art, the slass paintings. 
Already in the Romanesque period occurred windows with repres- 
eéntations of figures; but the Gothic brought it to its climax. 


Pe 


.. 


a Tye a aia tow cadets Yo ateede betoloo yiswoirsey dtiw asi 
» hentart watssteo etsn yodT .absel at tea bas antwerb edd og 
itera dtiw aewwsteqretseom to aottowboug sd¢ of yilsatatro © 
996 yelidose eugo to slamsxe sit rests) etoloo taexattib to as 
getweiTt soubo1qg of bebossotg aom aodT * . (GIL sasq .t sanfov 
; ehathede bas asnif edt aedw .saomtsert to bodiem oman sit vd 
ddim astowte at bettaqs sian esciiiso bael edt asewted satwh 


_ «=memwoo0h aemie9 of anthbro00A .. a0L00 dosld-deiaword aldtast sto 


~aize vhasils eow2tk to anottstaseeiaes déiw ewobduiw eaals ed 
-(adyi-o-neb16W ta dowdo enttotbeae’ bLo edd ni) COS tuode bos 
| f@ If ods to tfed baovee sit mort oteb Quttaixe won tasblo oA? 
-ofeo ed? .{SandexcA to Lerbedtao to Svea at awobainx) vasenso 
dt St sd¢ nf .wolley dxsb bas ase4tb wacid .bs1 to taianos at 
, edt cA .“wolley a9vite” adgiad' ods otexedt bebba eaw vaudaes 
j ae .tastsqge sovioameds sham ofyte eds nt asaasco sats sage 
: -yieos1 aomatt sit zeewkit to eetbod eds fod00 0% betovsehbas 
| ~ai Isctndoet sastrouwi 04 begasa vod? .etuxslt srdto8 siz be 
; -od bed yed® .yaodmen dt Sf 90s to antanded add sa eaoicavoag 
eesi2, eeeltofeS .erolos sidisst avgoiucey dtiw betntsupos smoo 
eas Satoubo1G ,ai Ssgisd sisw yods .oee0s bstsoo atew asaade 
~fags usd dna esoeiq emoz ai tto snfbmiak yd eesle “sastasdy™ 
~toetts Gos Oibasiae ylowextas as agtatatdo .810f99 teddo gary 
eidte® zitss bas ‘euypesasmon sdt ni .satbsde bas batedarl sve 
{ceva gavor1 a at bsaofoas stew 19g019 adattatsa ads. shot1984 
/$eq%s9 dtiw betssig saiwisdto .wobniwos at betasant asdt bas 
- meds beeoloas obdtod io abotreq sts bas seed od? Seatsdteg 
PLaaibtent eit bexsvoo yileido tedz ,e4utossinote yoorso s ai 
 staemtsert Isotudos? odd. ,ercloo edt to tobueigqe sdt vi .wob 
_ -9dt ood dotdw .enottetaeserqss ait Yo ¢20qxsq eiitae sat bas 
| shea sds to abasgel od¢ Ouse oidtd odt mort savtt .eisiastem xf 
| eoarsa odd bobufont ylisnit oals ted .ysegetd wort nodt .ete 
 sWeeno desserts botseq ofdto® eds atebasol eds to setiimst bas 
_ satsy d&id atin .ewobaiw eesig saedt ai sitow Sniseorssai yiis 
be» So reog » aoftestifivio to yioseid odt at goals bas tas ab 
pseeainipdoyeat ins wines oft Lo sasdsane destagni oAs mont * 
‘ :9 Saks t gboevin sonst mxsAtucs bao albbim ni tpds .womd om , 


> - 


( aaa. SNOT sodosgAo okt .sotiutnse dt Y bao as 6 ad 
- ad My.’ Mi Daeetanel eBoin Mie uate besoloo yisuoin 
Tae a Le, bs Pie q ii 


ion LiAsikineke ibis idicickeeninsd asl 


’. 


94: 

Its technics substantially consisted in the composition of figs- 
ures with variously colored sheets of slass, cut out according 
to the drawing and set in leads. They were certainly limited 
originally to the production of mosaic patterns with cast sla- 
ss of different colors (after the example of opus sectile; see 
volume 1, page 113). * Then men proceeded to produce fisures 

by the same method of treatment, when the lines and shadings 
lying between the lead outlines were applied in strokes with 


94a fusible brownish-black color . According to German documen- 


ts slass windows with representations of fisures already exis- 
ted about 800 (in the old Benedictine church at Werden-o-Rubr). 
The oldest now existing date from the second half of the 11 th 
century (windows in nave of cathedral of Augsburg). The colo- 
rs consist ef red, blue, Sreen and dark yellow. In the 14 th 
century was edded: thereto thé bright “silver yellow”. At the 
same time changes in the style made themselves apparent. Men 
endeavored to model the bodies of figures; the figures receiv- 
eg the Gothic flexure. They passed to important technical in- 
novations at the besinning of the 15 th century. They had be- 
come acaquainted with various fusible colors. Golorless glass 
sheets were coated these, they were burned in, producing the 
“uberfang” glass by srinding off in some places and then appl- 
ying other colors, obtaining an extremely splendid and effect- 
ive lighting and shading. In the Romanesque and early Gothic 
periods the paintings proper were enclosed in a rouns frame a 
and thus insested in a window, otherwise treated with carpet 
patterns. The best and late periods of Cothic enclosed them 
in a canopy architecture, that chiefly covered the entire win- 
Gow. By the splendor of the colors, the technical treatment 
and the entire purport of the representations, which took the- 
ir materisis, first from the Bible and the legends of the sai- 
nts, then from history, but also finally included the persons 
and families of the founders, the Gothic period created unusu- 
ally interesting works in these ¢lass windows, with high value 
in art and also in the history of civilization. © 

*® From the inspired writings of the early mediaeval authors 
we know, that in middle and southern France aireaedy in the 5 
th, 6 th end 7 th centuries, the churches were adorned by va- 
Ptously colored windows of glass mosaics. 


Lcule ad ey } ‘ 


¥ 


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stoteisds ebotieq saeietiib sis at ¢nom9aracte tisd? .omts te 
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dosed as bue eofasaves sneistiib add otnt beorae VI 
wie .2onerG Tf 
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edt ot 2(80L) .e¢4%) Sebacor sarei to mrot eds aved adfusy B2OTD 
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st eiited edt To taesqoleves {sabs1a eds ddiw detseaasath 
teed tag sana. aed sadeessacaleph hs tee72 sextt eAP 


alld 7 i ¥ 
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i 
Ae al et a ad . 
Pat Whe ee Toe. SF ri) > ‘ Per, 
—s Pa tid: é ieee . : 
ey OF sha : rob rae. a i Vie, 


ee 
a 


_ a | 
Eg ee 7 


95 

Phe great Gothic cathedrals vere frequently in architecture 
and decoration fail in the entire unity of the style. As a 
rule their erection reaquired such long building periods, that 
the different phases of the style, in the course of its evolu- 
tion from the early Gothic to the best period and the late G 
Gothic, can be very clearly followed according to the progress 
of the works from east to west and from below upwards. Certa- 
in principal structures were already commenced in the Romanes- 
gue period: others received their completion only in the late- 
st time. Their arrangement in the different periods therefore 
can only follow with corresponding reservations. 

IV. Spread into the different countries and the Monuments. 
IT. France. 

The three periods of the Gothic style are designated as pri- 
mary, secondary and tertiary in Hrance, the land of its origin. 
Tf we here adhere to our former appellations and follow the s 
general course of its evolution on French soil, then is to be 
assigned to the early Sothic the second haff of the 12 th cen- 
tury, and to the best period the 13 th century. hate Gothic 
falis in the 14 th and 15 th centuries and disappears only af- 
ter the first third of the 16 th century. In seneral. the Go- 
thic style in France develops no substantially indiwidual and 


/oonational course; it appears more as an intellectual contempor- 


ary style, whose course we have already considered. 

In the early Gothic (from 1150-1200) the earnest and heavy 
forms of Romanesogue art still have great influence. The clear- 
story walls rest on round piers, from whose antique-like capi- 
tals rise the rounds. he ribs of the senerelly hexapartite 
cross vaults have the form of large rounds. (Fis. 106). In the 
windows usually remain round arches, and where the pointed ar- 
ch appears in their place, the ornamental filling with mullie- 
AS end tracery is omitted. In the ground plan the single or 
double choir aisle is the rule, either with a closely arranged 
series of chapels, or with entire or partial omission of these. 
Phe transepts frequently end in apses, so that the eastern end 
is treated in trefoil or triapsal plan. In the structure were 
still retained the galleries for structural reasons, but they 
disappeared with the sradual development of the buttress system. 

Phe first Sreat architectural work, that unites in itself a 


iit ies af Sw beak ee 


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.atgwod ows edd vino .O2lL af avaed ,gextuadD to isibsdtao adt 

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| (ete Istbedteso sd? .baitblivd oidted yiaso sds of anoled ole 

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96 
all the basal traits of the Gothic style is the abbey church 
ef S. Denis near Paris, whose choir and western facade, abbot 
Susger, the famous ecclesiastical prince, statesmancand learned 
man, caused to be erected between 1137 and 1144. It has a do- 
uble choir aisle and a circle of chapels with two facade towe- 
rs, whose construction with buttresses,?in Sreat part still in 
Romanesaue forms, permits the recognition of a new structural 
system. The model here Siven was directly followed by the ca- 
thedrels of Noyon, completed about 1167 (pages 77, 93), Laon 
(4174-1226) with three aisled nave and transepts and seven to- 
wers (page 93), and of Notre Dame at Paris (1163-2285). All 
still havé in ground plan two squares of the side aisles to 
one bay of the middle aisle, and in the structure are sSaller- 
ies, triforiums and clearstories, so that they appear in four 
stories in the middle aisle. The western facade with two tow- 
ers at Notre Dame (fis. 128) has pecome typical for most Fren- 
ch cathedrals. By bold horizontal belts and the insertion of 
the so-called gallery ef the kings, containing the kings of Is- 
pael, beneath the story with the rose window and by a high tri- 
forium above this, the horizontal subdivision is strongly emp- 
hasized. It is retained as a peculiarity of Freach Gothic, a 
although not corresponding to its principles. Perhaps in this 
is to be seen one of the reasons, why most French cathedrals 
have undeveloped towers, for the spire is wanting to them. On 
the cathedral of Chartres, begun in 1130, only the two towers, 
between which lies the triple portal leading to the middle ai- 
sle, belong to the early Gothic building. The cathedral. at 
Sens, (begun 1152), in which clustered piers alternate with pa- 
irs of slender columns, omits the galleries, and likewise the 
cathedral of Soissons (1175-1212), in which the bays are cont- 
inuous as an importent innovation for the further development 
of the Gothic system. 

Fhe best period (1200-1300) brings during the reign of S. L 
Louis (12286-1270) the classic age of French mediseval art. All 
France was seized by a marvelous desire to build, that finds 
few parallels im the entire history of the world in the art, — 
and which executed works on Srand plans in the highest perfec- 
tion. The prevailing system in the Sround plan is composed of 


- at Sasi’ oven béiete opidé 8 \eTswot sheost ows 
; rgaental bas yiotsludms efeste agiw itodo beleis 
ead teeds {stbsdtso edt To 1t0odo sdt at es) efesasdo Lsa0ky | 
 givastenoo sis asfislisa sd? .aysd avounttaoo déiw . (St -9k9 
otat bevioesy et yiotetssio sit wofed few teqqs eaP .bsteitmo | 
w 9201 odd to tedt ylusivotsxsa .y1s0sat edt aT MILTOTLIS GA 
dotdw mort .offarretosisds ets eereptt gatzsibsx sad .ewobntw 
ae 9mea vi hevisees ‘esd hetasaq odt to efyte Larutostidots ond 
| .(gnsadovex sivtea) efyta gattsibar 
bile trattogar. %0 sodmun 73912 edt S00me sonete sisdsyoa al 
-is Siituds1 .estsisd® to ‘Lsibedtso sdsebeed sdt ts baste stent 
“ewod M@IeTsoW OWs SOt Bnitasoxe  AOST reeyreds To svrt odd t98z 
weUN@e Bt ,SISE nsged) amiosGutecFade~,.CSSL at petolamon et 
“dt69 edd .168f af bsonemmoo aattosts saodw .sbabat avomet déiw 
-issud fo giedo8 to asia edt tests SISI avaed .eastad to Letb9 } 
9 basis edt .vtutmes dt Sf edd ak bstslaqmon eshanet? ada .e9d9o 
Snibliuder sid ,(G8I-TISD) eae sd to Levdsizs0 edt to at0ds 
sisism Seom sdF .( LSS sedis) eins@ .3 to dodo vedds oat to 
88 sdt at .19vewod siddod doaedF sas to soitssto fyteoss2 bas 
_ -=tedm0M ‘to s1asid rd bevoots (9Sf 16:9) etosd ts sfleqedD ofat 
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eidnob & es bnad viol sav mort tdavword 2o%fsy od% to aotesv 
. stove wads delers sikate 5ue tewol belets esrdt dtiw (aaedo 
2esi2 sasotTingew yilsvavay driw ewohatw yasosas Liet edi a0 
as 28 omit nig sdt 10% sfds2 YisoB1s oft erseqgs eaatdared 


} 


Oofssaiimres L[saretxs 
~sieae8 [{rda yautaoeo dé el eit to egarblind odd ybasmro af 
sede lobdto® vise saz to asisis stevee bas y1b edz ased yIL 
Ssafiet edt asdtv astosisdo aawioll edd OF astd00d SsbnogesrtoOO 
_ ‘sy bettino at aeig bavora odt al .sfyte (eaoitsa edt to s18 
 =ba ot? letzs anism edt no Snivil leasdo ttotio sds bo notenstxs 
edt mister eletcaso edt tu8 .berstento yideia bsebut o18 219 
dows isitstxe od? = .gattmew ef yisos1? Vwrot bud ordtod vires 
_ steeot> bestestams yignorte edz ys bessntwod et wot Lexutoati 
edd Bh .etowod Sba0st ods asdd tOdRid esety teddy (sowot BH 
' eleabsdiso ods beaotsnem od of 918 ainemvGOM taosdq0oML ste0m 
: 8B) (OSE ~8f%) gogo to seods .ehatbhliod aitfase moxt bekasio 
remo ofdt0d aatd To edaow ietdo ows odd bas ,xvsterd xvoe : 
bel 8 evil edt bas 2995 to terbedaeo dsfete sexdt efit stas ©%) by 
es, Sen Lo bri: vd were tae 7 ae eee oo he ¥ mael, 


97 
two facade towers, a three aisled nave and transepts, a five 
@isled choir with single ambulatory and radially arranged pol- 
yeéonel chapels (as in the choir of the cathedral at Cologne, 
Fig. 153), with continuous bays. The galleries are constantly 
omitted. The upper wall below the clearstory is resolved into 


o2¢-triforium. In the tracery, particularly that of the rose w 


windows, the radiating figures are characteristic, from which 
the architectural style of the period has received the name of 
radiating style (style rayonnant). 

fn northern France among the great number of important works, 
there stand at the headvthe cathedral of Shartres, rebuilt af- 
ter the fire of the-year 1194, exceptinge the two western towe- 
rs, completed in 1260, ehaBhatmRheinms (begun 1212, Fis. 97) w 
with famous facade, whose erecting commenced in 1251, the cath- 
edral of Amiens, begun 1218 after the plan of Robert of buzar- 
ches, the facades completed in the 15 th century, the grand c 
¢hoir of the cathedral of Le Mans (1217-1254), the rebuilding 
of the abbey church of S. Denis (after 1231). The most mature 
and graceful creation of the Prench Gothic however, is the Sa- 
inte Chapelle at Paris (Fis. 129) erected by Pierre of Monter- 
eu for S. Louis in 12438-1248. It was designed for the preser- 
vation of the relics brought from the Holy Land, as a double 
chapel with three aisled lower and single aisled upper story. 
On its tall tracery windows with unusually magnificent slass 
paintings appears the tracery sable for the first time as an 
external termination. 

En Normandy the buildings of the 18 th century still senera- 
lly bear the dry and severe traits of the early Gothic, tnat 
corresponded better to the Norman character than the refined 
art of the national style. iIn the Sround plan is omitted the 
extension od the choir chapel lying on the main axis. fhe pi- 
ers are indeed richly clustered. Sut the capitais retain the 
early Gothic bud form. fracery is wanting. The external arch- 
itectural form is dominated by the strongly emphasized crossi- 
ng tower, that rises hisher than the facade towers. As the 
most important monuments are to be mentioned the cathedrals 
changed from earlier buildings, those of Rouen (Fis. 1380), Ba- 
yeux, bisieux, and the two chief works of high Gothic Norman 
art; the three aisled cathedral of Sees and the five aisled 


a ee 


i cp ; 
ral 
’ . a eh TE as y ihe rN ry ba ee . f 
neo 1) , Aine saan 2 a vi : oN 
eed Vu as ; ; | ee 
oat he) ~ ioe i 
oe. ihe ¥ a 4 es oe bia, fo 7 ¢ v avec 


we he | ieosudre’s to dat 


tre ‘anne ne enpisde uae ylidomiot sxedw .eons7% niedtvoe al 
f deve bavot bed .eanee omsa ods af besnitaoo,siyta sgpasasmaos 
oe yey toot odiate ylmo biooo otdso® edd .Ltoe aldstovet 2 
+ BooasdauterdS sitfasw dns evorkifes edt dasords eebreo@ ivi 
edt to daemgoleveb ofsettas sdt bathed bentamex oals dtuoa add 
| ylegetaxe 9moe betsafatse yviudaeso dt Sf edt at text? .dta0d 
yvilsaoidqeoxs tedt .esdivod to Isrbedteo sdt .eedoando otdro8 
basie odd , (88S! assed) baszief-snomielO to gadd .davro 8 bad 
A gedd ao feacoluoT Yo ons sanodish to elsabadssy sit to ertods 
{esoteT¥ wteddé10n to tas sdi to sonewliat toaxtb edt batasqas 


“eedousdo sdzv oals sted (lite Saoled afyse yd sud saitt yd tov 


eetsvaners sdv eudt .botise oldtoD add of vansaso dt BI sat Yo 
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8&8 dtiw ici& to [stbsdsso eas bers eadogesois® ai ‘ertass¥ .2 to 
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at swolfot {Lite ,ISI betelqmoo .mottG 3s gmaG satoU to doxs 
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~seetddiud bos etivev Io nsteve betaisogso [lew sdt at bestnsoo 
4 Yo eletisdtso ed¢ bas 19m92 ai sasG Sado to dows7s ed? .ee 
.beqolévebh bas betaerta yiaslimte sts sansessd to bas sitexoA 
Mehs-tanigl betseit yidotrobeemGortnt yhserls ead asstafl odd tod 


-819LG Se 
-bs eit Yeu sifteatitoob se mi (OOSL-OOSL) ofds¢oD stel sd? 


- — 7 


r “Tees ageagdari tasasie bas easatsbasie smeidxs as vo bstuosxs 
“-sn09 yldstetots eax aeic bavors sd? .ativaes tesi eds oc Bot 
‘dt adottavels al .aleqado fellaisa vd eelets abie sda ai bsuak 
did yrev odd otat betarso s19w viosarisels sdg to awobaiw sd3 
 ,éaemtsort doti1 s bevisoer esazsatiod aatvyit sdf .muirotias 
ode s ot bebnet cistostiders (evtstat bas Lantetxe eridaa od? 
We:: wisaeo dé Bf adf .aottstaonsnx0 beatter bas Iytsos1& . uw 
en woiy al .asimrt teebom ylsviteiot atdtiw boatsae1 La1aqe8 
otaunsuanciend sew odd mee 2aorioumoo Lanietai euounside edt 


} : tie i 


: » 5 4 
5 . i* ' a ~~ ie 
:*. oie ashi BaAuti +h tr Lae 


va, 


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ti doidw ,botisq tdaed sit wotlk bedsimaasnd moseye edt oF heted ) ) 


<K 


98 
one of Ceutances. 


In southern France, where formerly the antigue and also the 
pomanesque style,continued in the same sense, bad found such 
a favorable soil, the Gothic could only strike root very slow- 
ly. Besides through the religious and warlike disturbances t 
the south also remained behind the artistic development of the 
north. First in the 13 th century originated some expressly 
Gothic churches, the cathedral of Bourges, that exceptionally 
had a crypt, that of Clermont-Ferrand (begun 1268), the grand 
choirs of the cathedrals of Narbonne and of Toulouse; on them 
appeared the direct influence of the art of northern France. 
Not by time but by style belongs still here also the churches 
of the 14 th century to the Gothic period, thus the transverse 
aisle of the cathedral of Bordeaux, the rich eastern building 
of S. Nazaire in Yarcassonne and the cathedral of Albi with a 
Single aisle, treated on the exterior like a fortress. 

Bikewise the buildings in Burgundy do not keep equal pace w 
with those of Picardy and the Isle de france. The stately ch- 
urch of Notre Dawe at Dijon, completed 1240, still follows in 
its ground plan the restricted saquare system without choir ai- 
sle and circle of chapels, and it has yet round pillars with 
bud capitals, but allows the maturity of high Gothic to be re- 
cosnized in the well catculated system of vaults and buttress- 
es. The crurch of Notre Dame in Semur and the cathedrals of 
Auxerre and of hausanne are similarly arranged and developed, 
but the latter has already introduced® richly treated cluster- 
ed piers. 

Fhe late Gothic (13800-1500) in a doctrinaire way firmuly ad- 
hered to the system transmitted from the best period, which it 
executed by an extreme slenderness and elegant lightness carr- 
ied to the last results. fhe ground plan was preferably cont- 
inued in the side aisles by parallel chapels. In elevation t 
the windows of the clearstory were carried into the very hish 
triforium. The flying buttresses received a rich treatment. 
The entire external and internal. armhitecture tended to a sho- 
wy, Sraceful and refined ornamentation. The 14 th century in 
seneral remained within relatively modest limits. In view of 
the strenuous internal commotions and the war with Ensland, m 


4 Vy ; ‘ i : yh 4 y 
4) bY “twit ha) a wire r, aise rs 7 vA ; 
; 


4 
ih bs vy Se ats) am . of : ; -” hi D es, - Heit a 
i ¥ ip Ar cue i ii y ah s ' ie 


iain ak ut) Ipoh oJ at lscavaid chicas wide : 


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natin. aids besiail tad .ytivitos Isissoesidors detsmins 
. + ® @8 Qaoled s2zedt of -emots tobe bae ef0f5lindes .anotielamoo 
x  S oeaeit +2 to t9w0s tusotliakem bas avomst sdt duow tasaimorxg 
-90d sempsoutsea wea tnstxoqmi stom odd 19. .( S06! a9¢te)ased ai 
0m bag, basia off aotsasm ot ved ow .yawsaso ds bE ods at awe 
(260 .3f9), .(SIE! ouzed), nevol ai gow? .2 to doisdo bedsaas ytd 
8 fevesrbom ef¢g vd d&coidt hesesa asu, Levives dthasias stom A 

} 7 Bids to esoetidows odT .yintaso dt GL odd ai soust# to tas 
‘otddo® yitse ods to ebisbasta edt og borenhs eyinis lite amit 
yons oxoteisdT sasdouudo to gsivsowite bas anslt eds at ofyte 
edt gae32 desi sdt at bas aoitstiesd dttw yino bevolama oats 
-ssv bas aeia, io snemqofsve5 sinskto edt antoawonesx ,tlusyv ten 
 heteogs ylilewtoalfesar ysdt sekwiedto 3uG .avitouratenoo boatl 
_~£iteu bos (6Sf .2h4) otdso8 to ealgtoatig (equsogase odd dot 
doidw &noms ,asdors to amtol sidgod egal io anottsiisy ifs bes 
| ., fosa tavo tsi yrev s doze Lead oft bas dois 9920 sit acbrasd 
cyt BE ebas di sedd .bseeeiceb o@ notio at tedd .be1t9etsia |sR 


- . aft. .etemt92 bebagos dtiw ofaastoo1 ted s es yfousm Safassa 
=ve bas. tastisxol taom ods yd beaevoo stew enodaiw bus elatsioc 
eg% testis) yreosas al .(SSt .2i%) .moisesaomsaxo L[uttoast ae 
eatwadteae! hus elil~smsi{k edt. (ytsdae5 dg of edt to. antantred 
 «BEG), .ottaizedosiedo emsosd Lick bus 19bSsis dati betsRaois 
‘dt GI edt to siastootidors doas1§ oxidase odt sasdt wore »{6Ef 
ads anomA .olese Jasyodms{i to swan eds hevieosa asd yistass 
deen odd omit eids, Raiagh eeaudou1te to agoissiamoo as0temea 

_ otdto® donet% etal edt, ewode aisoT to Leibodtss sdt to shsost 


has hossiqmoo 24 .dnemsse1s Lutoosx& Jeom bas seoxselo ati ai - 


 -taskele teow sit aseqge siyta tneyodmslk edd to anoitsero sana 
| “oto yd Yoke ai aeked .neuoA ts wolosil .2 Ie doisdo betesas yl 
«@ to dowd sdt bas .yonsil 1seq J10% gb esfooilt .2 .aido8 sig 
-qai19 s awoda sbsost eaadn (S83! 104i) eliivedds ts ugrilel 
ie adeoal edt, oafs eanoled saiwsAil sta .nottstaomanxa be 

_ 761% Io d¢aom eme1txe fd nove ut Saiteipizo ,el{id ai soiasM 
Be. & dotado {fed Sefeis avit s ee aslg att 4d asvewod dotdw 80m 


ar) Os — ; 7 R 
ar mn Mie atid.) os De 
Bat i. fy , paket en eee Jn Cee 


| Gel2ude .e1utoetinois asiwuosa ai ylasisoisieg sail {etaostzod™ sy, 


i: Om 


A i 
ia 


99 
many important undertakings in the Sreat style fell: into the 


packsround. Men indeed everywhere continued the previously a 
animated architectural activity, but limitéd this chiefly to 
completions, rebuildings and additions. To these belongs as a 
prominent work the famous and magnificent tower of S. Pierre 
in Caen(after 1308). Of the more important new structures be- 
sun in the 14: th century, we have to mention the Srand and no- 
bly treated church of S. Ouen in Rouen (begun 13818). (Pig. 181). 
A more splendid revival was passed throush by the mediaeval a 
art of Prance in the 15 th century. The architects of this t 
time still alwiys adhered to the standards of the early Gothic 
style in the fblans and structures of churchesa Therefore they 
also employed only with hesitation and in the last stage the 
net vault, renouncing the organic development of pier and vau- 
lted construction. But otherwise they intellectually spopted 
with the structural principles of Gothic (Fig. 128) and utili- 
zed all variations of late Gothic forms of arches, among which 
besides the ogee arch and the keel arch a very flat oval arch 
was preferred, that is eften so depressed, that it ends in a 


/oyherizontal line, particularly in secular architecture, shushap- 


pearing merely as a half rectansle with rounded corners. The 
portals and windows were covered by the most luxuriant and evy- 
en fanciful ornamentation. (Bis. 132). In tracery (after the 
beginnins of the 15 th century) the flame-like and lengthwise 
elongated fish bladder and foil became characteristic. (Pig. 
133). From these the entire French architecture of the 15 th 
century has received the name of flamboyant style. Amons the 
numerous completions of structures during this time the west 
facade of the cathedral of Tours shows the late French Gothic. 
in its clearest and most graceful treatment. As completed and 
pure creations of the flamboyant style appear the most elesant- 
ly treated church of 8. Maclou at Rouen, begun in £437 by Pie- 
rre Robin, S. Nicolas du Fort near Nancy, and the church of S. 
Wulfram at Abbeville (after 1488), whose facade shows a crisp- 
ed ornamentation. Here likewise belongs also the church of S. 
Maurice in bille, origimting in even the extreme north of Fra- 
nee, which however by its plan as a five aisled hall church w 
with slender round columns occupies a separate place amons the 


ye 
2 


eae or, ste A 


ore Ve edeed ait Mer eae Mire & Meigen oat IT 

Cop notaivio to hevetdede desiast? sdf to aotenfonoo odd eoait 
asm199 s bemtot sbhaslredteX sat (OTS issy edt at)aseisel ts 
“ne odd ylaO, .sateiz0d to ydoub odd ai bestsaoqicoont .sontvota 
“34 ©Jeonstl o¢ bokanofed etebusl3 bas atossA to esttauos taste 
“9 enetemua s207s satettad to ydoub edd to aottuloeaib edt 52 
8 fedd ,eaiaqma of3 oF Satancled yisosith eetdovd bas estéasoa 
ateds bose yoaek1sG to eeivh sds yebae bentdmco exew ASE! 497% 
besoloas .wooRatd ysdaim s ofat gaudeqs! to seged edt to exied 
bas eoistiog satw yd dofdw .es2 dso sdt bas ynawie® aasweed 
dastiogqmi as sdet ywtnso s 10t S{uode esontaq ati to svol s22 
- att od Batbroo0A egos? atedtsom to aefgosa edd anoms tq 


“089 asf to zeititsifvesq [eioas ett bas noiveool fsctdqsxR0¢8 ) \) 


Bo asm199 to ylevtewtioxs sis (brelfoH) déron sat at dotdw ota 
- @ ,(uwisied) sonsy% so anivebi0d seendtuoe sit at bas .uretro 
-Soatifois ows ots sisdt .boold doned# ud bsteswasag ylitasa tad 
-sbasizedteli sdz to [toe siz wo bedetudsttetb od ot satemob [stg 
sonealiat edt tsbay yletisns ¢eomls esv sonivora Jaowdduos an? 
«ie etedt ti weve’ ,stutoetidows Lertbsdaso asfdagsis8-doast4 to 
_ =odvedd aort s08 .bsineb ed ot ton sta aoonsultai asmi199 ybsort 
:. bsbtotie afsbom eds yinxeen stom bowollot tesedtiong sadz gatoare 
~aeqeSak ods tebav bas yistaeo ft SL eds al .otdso9 mewieD yd 
-ti£9 gem1s) wol totdatiolt yikaovte  eboaradtell sit Yo songb 
dasmevom errant tee13-6 to exvetioggys tetno sit emsosd asi 
-tiafg3 asm199 vy{tesrdo s to 
to ewzot Sit af beagttno0 exrow Isisdoestidors ad¢ muigied al 
Hy ») staesaso dz &f oft to elbSia saz Litas efiyte notttenssad sat 
| wot ylisvba12 eloqsdo Yo sfoite sds déiw efets rrodo sas aon? 
- 0% vouute edt toddawt oale roizesai oft at to8 .noteaiabds da 
_ | edt se0t alstiqso seodw mort .bertstetg sey osm enmoloo bay 
E ‘aredesm odd otutourse Isaxetxo oft oI) .etissy edt of ebacod 
r qo Ifew tse1a odd dbedosotags nolstettesa déiw bas yibiwis yiao 
" doney® daid yisroqmetaes eat to moteye seeataud sda bas abatas 
_ - elaasdeteaoo Jom 28 s1seqqs astto weteye sat sads 08 .oidsoS 
aon dzik s- cores aaemapnR Bxiow. nsscmiad teY .betvoexs 
Ty, 5. A 3 s wat 
| i 2 og Lerboiveo Novi -- i hegtil aison Seutontve: ods ote 


a a. 
f 


Sire Ly ; 
To, OY aS, oe ee 


pratt: mit pe /eodowwdo: > dona 


a> 
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ee ; 
7 ?3 ae «, 


409 
Brench churches, 


II, The Netherlands. 

Since the oonclusion of the Fhankésh agreement of division 
at Meersen(in the year 870), the Netherlands formed a German 
province, incorporated in the duchy of borraine. Only the an- 
cient counties of Artois and Flanders belonged to France. Af- 
ter the dissolution of the duchy of Lorraine arose numerous ¢ 
ceunties and duchies directly belonging to the empire, that a. 
after 1384 were combined under the dukes of Bursundy and their 
heirs of the house of Hapsburg into a mighty kingdom, enclosed 
between Germany and the North Sea, which by wise politics and 
art love of its princes should for a century take an important 
part among the peoples of northern Burope. According to its 


> 8eographieal location and the racial peculiarities of its peo- 


ple, which in the north (Holland) were exclusively of german 
origin, and in the southwest bordering on France (Belgium), 

but partly permeated by French blood, there are two architect- 
ural domains to be distinguished on the soil of the Netherlands. 
The southwest province was almost entirely under the influence 
of French-Bursundian cathedral architecture, even if there al- 
ready German influences are not to be denied. But from the be- 
Sinning the northeast followed more nearly the models afforded 
by German Gothic. In the 15 th century and under the indepen- 
dence of the Netherfands, strongly flourishing low German cit- 
ies became the chief supporters of a Sreat artistic movement 

of a chiefly German spirit. 

In Belgium the architectural works continned in the dead of 
the transition style until the middle of the 13 th century. 
Then the choir aisle with the circle of chapels sSradually fou- 
nd admission. But in the interior also further the stumpy ro- 
und columns were yet preferred, from whose capitals rose the 
reunds to the vaults. In the external structure the masters 
only timidly apd with hesitation approached the sreat wall op- 
enings and the buttress system of the contemporary high French 
Gothic, so that the system often appears as not consistently 
executed. Yet these works sometines attain a hish monumental- 
ity. | 

Fo the principal works belong:-- the cathedral of 5. Gudule 


é iy 


/ Or, > F is heal 
d y Tee es oe 


Be eee fae 
: Pi mn : j 


“wOd: fies 5 ‘bevisoss sbsost seodw .G8SL) soute betoers ale 
iieren <a7sHod oviees® ows bas .wobatw se01 8 to bsatant 
; edt ai doredo aeuettdsid on? . 262 -2t9) .yussaso ds Sf ede 
© ited ttode) aantblivd Isvestbos at dott os .2ean14 to vaio 
_  twoT to Istbedsss ed# to nbiees siod> bns1y sat .(TOSIERERE 
 -Sge0r0'8 es olyte ouvesaemod saz ni apsed .86SI-SeSt siind és 
_ --3%8) GiideoeM se eierdedseo tnedarS od® .sotiiesd tetq bsqsde 
mt od% yiysivotsisea bas .(ENS!I a9es%ts) nisvyod ts bas (LRG 45 
iddfdw to .(68f .9f9) S@EI neded ,aaewtod to Larbeddso ankéog 
‘@ Bas .yvassaso dz Sf odt at batoste [lise ean rtoda efdon ent 
~9¥ ‘ods ai viae betoors ean etawod ows sds to sao ateddvos od t< 4 
=91 gi6itaoe ods siidw .(stexsmedgak asv eusinimod vd) 8f6L a3 
eaatow [stutootrdors seeds {fA .(86E .85%) .bedetatiag bsaisa 
ifodovdtiw asiq bayotk Letbedtso edt oF Saibr088DS bsaHs17xs 918 
| | -@isqedo to aforto bas sieifs 

ort dott edt eved sedorado garsf teom bualloh at sstwadid 
| “eoism 9760 moteye oft yvitlanwte of yonshasy sds ts¥ .atodo to 
#0 af efegsiis to elosite ens efiadn USshwytevs Taseisdaus Yisart 
| Sdstiures Lemoayfoa s esn siete ated ens sed3 08 .bsdstmo ned 
| -sa1e ete medt to bestenl .tesc0setb oals emefseirat sa® aot 
% ,ewobaiw yioteiselo ent wofed esesesex 25 esbsxdenfsd betas 
. betsvos sis Sne esbhsoss sdt svodse ¢isd s oF awob bausize dotew 
¥ ~tlqute tse13 evisestg amtot Iletasmeanio sd® .yieosit batld ed 
af eioitd ,baamsoo te elstresan edt ybaei{A .steawvisve ytto 
_-dasmqolersh ssat ateds betiwil ,eaode tuo dtiw aottsatdmoo 


‘ 


wed, vamame bewoltievo ed¢ to fice satdited eqosant add ao x0% 
Movant ai Setispet sew nottouttenoo at saso 3so1a .ebabe 
-, dt mort stotetsd? .etiuev exote to a¢euids abies ‘gaoise odd 
ase ted .Goisovitagos aeboow of beieths qiduesoe1t nem ,taxit 
— aaitesistai yiev 6 at etfvev to wyot ads at sited aetto 

‘gwar aaa asin sosq {supe a991 gon bib tddied odd ti aavd 
* pnbo7h ote" eadootie Isatssnt basta {iise sven ot to 
sT9I9%q beszetaxe as 410090 eonayseggs [an1esxs add 
0 Esate teu enottsbavot etedw .(TSL .Rt8) excwos teba9 

“id na paaat of, ‘Wisegeoen vino esw di e19edt aonte . ys luot 


i, 
ed 


? 7 m7 i , As; ; ; 
vay 


it. Tat Pe Nie RRM eE a ae oe 


a Hots ennare 


) seaemaofeved dokt 6 fosea ton bib eetwottk aottouxtanoo bosivsy | 


:elleot¢isy Rattos baol -s rot 


: 
. 
é 


£01 
at Brussels, begun about 1626, with a nave and series of chap- 
els erected since 1859, whose facade received a tall window i 
instead of a rose window, and two massive towers, completed in 
the 15 th century. (Wis. 134). Phe Liebfrauen church in the 
city of Bruges, so rich in mediaeval: buildings (choir built 
428941297). The srand choir design of the cathedral of Tourn- 
ai, built 1242-1338, besan in the Romanesaue style as a cross= 
Shaped pier basilica. The Brabant cathedrals at Mechlin (aft- 
er 1841) and at Louvain (after 13873), and particularly the im- 
posing cathedral of Antwerp, begun 1852 (Fis. 135), of which 
the noble choir was still erected in the 14 th century, and t 


‘Oy the northern one of the two towers was erected only in the ye- 


ar 1518 (by Dominicus van Waghemakere), while the southern re- 
mained unfinished. (Pigs. 136). All) these architectural works 
are arranged according to the cathedral ground plan with choir 
aisle and circle of chapels. 

bikewise in Holland most large churches have the rich form 
of choir. Yet the tendency to simplify the system here makes 
itself apparent everywhere, while the circle of chapels is of- 
ten omitted, so that the choir aisle has a polygonal terminat- 
ion. @ne triforiums also disappear. Instead of them are arr- 
ansed balustrades as recesses below the clearstory windows, 
which extend down to a belt above the arcade and are covered 
by blind tracery. The ornamental forms preserve Sreat simpli- 
city everywhere. Already the materials at command, bricks in 
combination with cut stone, limited their free development. 
Vaulted construction likewise did not reach a rich development; 
for on the insecure building soil of the overflowed swampy lew 
bands, Sreat care in construction was required in reference to 
the strong side thrusts of stone vaults. Therefore from the 
first, men freauently adhered to wooden construction, that was 
often built in the form of vaults in a very interesting way. 
Even if the height did not keep eaual pace with the widening 
of the nave, still grand internal: effects were produced. In 
the external appearance occurs an expressed preference for sl- 
ender towers (Pig. 137), where foundations met with less diff- 
iculty, since there it was only necessary to take precautions 
for a load acting vertically. 


~ 


‘ ‘§ 
Kd ie dO Pi Lae ad - “ 
- + <» f = = A 
, “i ee ae) eae ” 
, * A ¢ bah # ey rage 


| " ‘i is ve, . ae ae pe ae 
coy ‘oie at on ee ke g1esqae teotens® ev! 
een even beleis evil asonwn ANSSI-baSt ‘tliad), aa 
oY Te 610. af .titwder 19ven een bas STSt ai iota a 
+i opt belets evit odsbus ,O06L gods bstsaiaiao wsbied ” 
6 ebte wol ,enauloo basor tebasle d¢iw (Sf62) nabyed ts 19389 
i Df edt to. oidso8 aesiotest s yslostb atissy ashoow bas asleis 
re  gdoe71b300 78 doqud9 asysatdet? odt to ateseaw od? .yautaso dé 
_  & efeqsdo to elorio odd ditw sigis atodo saz tot babdiosb oels " 
- oy odd ,oLidn .asgewayk ta uedaseGuy2 te dotgdo edt to ogfs bas 
| 


ve sf 


t cetweiif bas .tt199 to bas (Saat ted is) misdat4 to esdoapdo 
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.39H08 8s to besteni ataseuais bus sven to notdosaisdst dt 19 
we Yistuso dg Gi oat. .oleis tiodo Lenogviou s dtiw asdeniwais? 
bas, asia siodo dott dtiw eedoide tseak ows booubora s9dsaNt 

| ~ais. evit odd bus sd018 ts dowodo msysiidetj odt .ativsy oaots 
] .s@ISf aetis asked .doesdaekosi9 te aah .2 to [erbsudtso bol 
| itasco eamoe yitrowaton isdtisl ets asaaiuord bas baelasia¥ af 
eeorD ([sotob dtin actauwtaso, dt Sf bast Sf sat wort aedoredg 
_ 0, abatbliwd odd dtiw,anoitsiss ovad yitactingm doidw .atiesy 
“ade xofad ots egniblind doguG teow seiwieds@ .¢ons1% aisdeos 
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Ao awe VU ide, -5oow to bsvoursenoo edivsyv bas 


-Oaalana Tit 
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| fis ett at Ssistosdiaors Yo siyte otdso® ens sonst% nowt deve 
| Ssibedtes edt to aninasd eds asttA § .taemgdtsveb to saste tacit’ 
 ~ tistiirW soosrdois doast4 ens {AIL asey eds at yrwotednsd to 
tr Beet os aoteztmmoo end dtiw baslane oy bsifeo sew ane to : 
to Estbedaso ead ng wae sh .nsia ated eft to anibliader eas 
| 280 audd bas .etde tot Isbor slaszive seom sad (t0f 5asq) aasb ER 
ak on bie detfan® ao Sntblivd-otdto8 tarktt ont badei ides 
_ wetaye betaeteners adt \notsasonoo dons1® aisadion viswsa Bids 
| wisaititw ‘efo0sq detignd eff omnis tetad yaey s tud bslisversg 
aot edt atin: Iddtoww yeds ted ,eseloamt betasaqmi sds bsviexes 
29d apd be retosuedo Isaotten stadt of asiindeq so10t evofos 
etesaayer sect siyte (stvtsotidors Ienoften soniterb s berse 
100 Ttvaw tioeet asso ga aed otutsa Ismiesnt ati isiw song” 
a unre ba Mr . ea omit: 


7 7 i iy ay v 


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/U 


102 
¥ Greatest appears the Dutch Gothic in the cathedral at Utrec- 
ht, (built 1254-1267), whose five aisled nave was torn down by 
& storm in 1674 and was never rebuilt. The Old church at Ams-_ 
terdam originated about 1800, and the five aisled church of 8. 
Peter at beyden (1315) with slender round columns, low side a 
aisles and wooden vaults display a tasteless Gothic of the 14 
th century. The masters of the Liebfrauen church at Dordrecht 
also decided for the choir aisle with the circle of chapels a 
and also of the church ef SynStéphan at Nymwesen, while the 
churches of Arnheim (after 1452) and of Delft, and likewise t 
the Great church at Harlem (Fig. 138), with merely a spire ov- 
er the intersection of nave and transepts instead of a tower, 
terminates with a polygonal choir aisle. The 15 th century f 
further produced two sreat churches with rich choir plan and- 
stone vaults, the biebfrauen church at Breda and the five ais- 
led cathedral of S. dan at Herzogenbusch, begun after 1419, 
In Friesland and Groningen are further noteworthy some country 
churches from the 13 th and 14 th centuries with domical cross 
vaults, which manifestly have relations with the buildings of 
western France. Otherwise most Dutch buildings are brick str- 
uctures withocut stone architectural members, round columns, 
and vaults constructed of wood. 


Ili. England. 

The British island kingdom was the first country, that rece- 
ived from France the Gothic style of architecture in its earl- 
iest stase of development. After the burning of the cathedral 
of Canterbury in the year 1174, the French architect William 
of Sens was called to KBngland with the commission to lead in 
the rebuilding of the choir plan. He saw in the cathedral of 


> Sens (page 101) the most suitable model for this, and thus es- 


tablished the first Gothic bnildins on Enslish soil. But in 
this purely northern French conception, the transferred system 
prevailed but a very brief time. Phe English people willingly 
received the imparted impulses, but they wrought with the ten- 
acious force peculiar to their national character and thus er- 
eated a distinct national architectural style, that in accord- 
ance with its internal nature has maintained itself until our 
time. 


fo , haces g igh "e - 
rs uf : 7 pry mBPi ra nom 4 iis re 
i ve As ; ae A 


or 


tae | Lue oti rk Ree Hated ey 
ivan aero seks. Laity ago Bei anes bawosy oat al 
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ks Theeteent ef anotenenth tslleme at eleis saievansis bitdt 2 


 giem edt ao aunty sisdsdo bas odd yO bebmesxs ci atodo edt bas 


_ “ade odd etimo omstowits ed? .(yre¥ 18) Leqsdo vbel odd .2ixs 
() bas 19fq edt to motéensxes{e edt bos daemaofeved otasazo bao 
0x8 Bf MoLtou1sea0o oat OF sOteaStin sdf -.aotsounsagon tLusy 
~te e1stesm daeilaaa ed? .a0ttst00sb sas od bisg tsdz yd bebes 
-tan0o sviegsa supeessmoh edt to aottqeenoo odd of bsredbe [fi 
Tigeoe yous moits1o9e5 to ansea use edgy yo doidw oF .nottou7 
to ¢daied edgy ol .eesatdati staskele to aoteesiami ond svig of 
edt to eaots10q010 odd of aofsetni rst atamet yodt eslats std 
~anei teteo1s foum sd¢ 101 taeda og .tasattues edt mo aaaibiiad 
elsibedtso oidso2 edt Yo avotietat edd to aoteasr4gmt adt dt 
© .dnentigoS edt ao seodt to saad mort Sesaado eit baslacd ot 
“bas ewobatw edt at dors Setatog edt Yo nottitsaet taagoo1t! ve 
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“Badht sno bod exsimk {o loibedtoes shit to sisio sibbin oat # 
| ~ MNudating Yo inxhedinoe sat Yo tedt sud .Sdotes cn aigasi 934 
’ Gs ays 63598 ASxis sAd yino ss 
 -goleveb raakibeubatis etiso s beatatts mottovateadoo bativaV. 
bas ten ,1e22 ywode Jeom ed¢ lo omod odd smgood basiank tos 
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se 8a beceleveb tom yfisueu exs adia od .eansa issaensox0 vi 
‘ot diode ao alsd109:mo teox dud .e1siq bavoegmon wort eaotenes 


SS 


N 


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- ('9 sgatfieo asbdoow sdd eaa65 Seom ai beebat sey at aisuoxtacee 
| -+baouget100 yi1slvots18a: o@is dsdd .ebarhifud asm1o at mommoo 
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Ls i.1sasfe stow saedT .Safbitudgtde aretit va sottost 


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A 
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“ech tenllpmeaimet s bae etasenéad Baidostorg yfkaorte dz 
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- Of 00 miot avivev onote odd yifsceasd ,.e1stq ods ao toe sban. 


=@ 


103 

In the ground plan (Fig. 139) then adhered also further to 
the former elongated plan of the Norman churches (page 60) wi- 
th strongly projecting bransepts and a rectangular choir with- 
cut the circle of chapels. Frequently a second and sometimes 
a third transverse aisle in smaller dimensions is inserted, a 
and the choir is extended by the end chapels lying on the main 
axis, the lady chapel (S. Mary). The structure omits the str- 
ong orsanic development and the alternation of the pier and 
vault construction. The attention to the construction is exc- 
eeced by that paid to the decoration. The EnsSlish masters st- 
ill adhered to the conception of the Romanesoue massive const- 
ruction, to which by the new means of decoration they sought 
to sive the impression of elesant lightness. In the height of 
the aisles they remain far inferior to the proportions of the 
buildings on the continent, so that for the much sSreater lens- 
th, the impression of the interiors of the Gothic cathedrals 
in England is changed from that of those on the continent. * 
By frequent repetition of the pointed arch in the windows and 
in the blind tracery on the walls, men sanéht to accent the up- 
ward movement and to animate the wall surfaces. Therefore th- 
ey preferred to arrange the windows in groups of two or three. 
fhe triforium extending above the arcade was senerally develo- 
ved as an intermediate gallery story. 

*® The middle aisle of the cathedral of Amiens had one third 
its length as height, but that af the cathedral of Salisbury 
is only the sixth part. 

Vaulted construction attained a ouite extraordinary develop- 
ment. England became the home of the most showy star, net and 
fan vaults. (Fis. 140). Phese are indeed conceived in a pure- 
ly ornamental sense. The rids are usually not developed as ex- 
tensions from compound piers, but rest on corbels on short ro- 
unds set on the piers. Generally the stone vauits form no in- 
dispensable requirement for the Hnglish cathecrals. Besides 
temiremain in use indeed in most cases the wooden ceilings c 
common in Norman buildings, that also particularly correspond- 
ed to the island peadple, already well skilled in wooden const- 
ruction by their shipbuilding. These were either horizontal 

/// beam ceilings, or they had the form of a gable roof, or even 


eal oo 


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h ey Red f ae bi 4 wes ul “a 


7 he a eae eine nie PUB i tock 8 to rer 
seat une 7 Tat -arH) -eanivise beblte bas besuteg yd b59 
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nas ss kades Ie od Stadt 10 ,etlusv scote vd bediexe as ,dtin be 
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(9 dome18 edt to Ssdd wort borstirb vilsitesem o2is sonsiseqas 
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104 
that of a tunnel. vault with Tudor arch section, richly decora- 
ted by painted and gilded carvings. (Fis. 141). Hence since 
in this manner a strons side thrust did not have to be reckon- 


ed with, as exerted by stone vaults, or that the erection of 


stone vaults was less effective on acconnt of the smaller heis- 
Sht, the design of the galleries and the sreater thickness of 
the walls, the buttress system lost its importance, Flying b 
buttresses were frequently omitted. conseauently the external 
appearance also materially differed from that of the French ¢ 
cathedrals. The great elevated window is characteristic for 
the main facade. The vertical movement is strongly expressed 
by the tracery, but is always reduced by frequent horizontal 
members. At first, as in the Romanesque period, only a massi- 
ve tower was built over the crossing. Pacade towers first oc- 
cur mn the later period and mostly terminate with a platform. 
(fis, 142). As an ending of the wall, the continuous series 
of battlements is peculiar to Enslish Gothic. 

We bikewise have to distinguish here between three periods, 
the Barly English until 1279, the Decorated style until 13870, 
and the Perpendicular style of the 15 th and 16 th centuries. 
{he different epochs are chiefly characterized by the architec- 
tural treatment. 

Phe Early English style (frog 1175 -1279) exhibits a eareful 
judgment of the proportions of the masses and excellent restr- 
aint in ornamental work. In the interior is striking the sep- 
aration in the arcade piers, peculiar to English art, when the 
massive nucleus is surrounded by four detached slender round 


columns. The latter stand on bases with usually circular Bli- 


nths, which also recall cast iron columns by the extremely sl- 
ender shafts and the low bell shaped capitals with round abac- 
uses. The bell capital is usually decorated by plant stems w 


swith conventionalized and lossely hangings leaves. Steep poin- 


ted arches, the so-called lancet arches, terminate the narrow 
windows. Only modest beginnings of tracery exist, and also of 
fiyingsbuttresses. To the Early English is alse therefore lack- 
ing the light and airy structure of continental works; it app- 
ears more like a transition style with tne Romanesque basis a 
and the ornamental use of new forms. Its most important crea- 


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195 

creations are the facades of the cathedral of Feterborough 
(pase 63), the cathedral of Lincoln (Figs. 139, 143), whose 
choir was begun in 1190 and was originally round with three 
radial chapels, but was made rectangular in the 138 th century, 
and whose nave (1209-1235) represents the mature Barly English 
style. In this are found the first star vaults formed by fan- 
like radiation of the vault ribs. Fm the same time was built 
the cathedral of Wells with a wider facade, richly adorned by 
figures and flanked by two massive towers, a choir of the 15 
th century and a chapter house, well known for its magnificent 
fan vaults. As the most important and perfect work of the Ba- 
rly style is to be considered the cathedral of Salisbury. Its 
eastern portion was erected from 1220-1250, the nave soon aft- 
erwards, and in the 14 th centary the slender crossing tower, 
exceptionally crowned by a steep and massive pyramidal spire. 

In the Becorated style (1270-1370) vividly appears the ende- - 
avor for greater development of the interior withi improved con- 
struction, greater height end finer equipment. fhe sround pl- 
an retains its elongated form. To increase the perspective 
effect of the interior, the end wall of the choir is opened by 
a eolosssl window. in the tracery appeser irregular foils, the 
fish bledder and flame_like forms (thus earlier than on the ¢ 
continent). England likewise precedédcin the erection of net. 
vaults. B8ut even in this period stone vaults enjoyed no advan- 
ced esteem; even in great cathedrals they were very freavently 
imitated by wooden construction. If flying buttresses were c 
constructed, they retained the simple wrought form. But the 
surfaces of the facade were richly subdivided by vertical mou- 
ldings. (Bis. 144). | 

In Westminster abbey church in London, besun in 1245 and com- 
pleted about 1300, the new principles of the style appear. Yet 
many effects of French Gothic may be recognized in it, which 
manifest themselves particularly in the polygonal choir with 
a circle of chapels, unusual in England. The cathedral of Yo- 
rk (nave completed 1835, choir besun 1361), a very monumental- 
ly executed structure in its external appearance, emphasized 
on the facades (Fis. 142) and in the interior by very decided 
verticalism, but the spacious middle aisle is only spanned by 
a wooden vault. It cannot pass as a model structure of the 


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106 

rich style. The specific English conception is most purely r 
represented in the grand cathedral at Lichfield (Figs 144, 145), 
substantially erected in the 14 th century, on which we must 
mention the proud spires of the three towers as an exception 
to the rule, and which is distinguished by the richly subdivi- 
ded clustered piers, arcade arches and ceiling vaults with ri- 
bs rising in fan+like form, and that at Hereford, where such 
a steep pointed arch is employed, that the spandrel: almost ap- 
pears as a straight line. 

The Perpendicular style (#370-to about the middle of the 16 
th century) is so called on account of the vertical line domi- 
nating the entire architectural and decorative treatment, and 


//: it energetically subdivided the closely joined clustered piers 


| by vaulting rounds, that in part organically rise from the fl- 
cor to the vaults. The triforiums were omitted, whereby the 
height of the side aisles was increased. WMullions and tracery 
with connecting horizontal bars cover the wall surfaces from 
the arcade to the vaults. In the windows the mullions mostly 
extend vertically to the soffit of the arch. The pointed areh 
leses its structural importance. it is depressed to the keel 
arch or recurved to an ogee arch. rom 1450 thetvery low Tud- 
or arch is at home in England, and this is again often enclos- 
ed by mouldings forming a right angle (label). (G in Fig. 124: 
and the portal arch in Fig. 147). 

Hitherto stiil occurred in especially prominent buildings 
stone vaults in construction with an ever lower vaulting line, 
approximating the keel or Tudor arch, and fan-like ribs with 
overlaid tracery. (fis. 148). How very greatly the structural 
idea was finally neglected in these appears in the fan vaults 
eccurring in certain buildings with funnel-shaped suspended 
keystones. (Pig. 140). These are supported by iron rods, anc- 
hored into two free arches turned above each bay of the vault. 

But about the middle of the 15 th century appeared a strons 
reaction in favor of wooden ceilings, which were developed in 
the most splendid manner, both as horizontel beam ceilings as 
well es in visible roof framework. (Pig. 141). The blind tra- 
cery richly extending over facades also Sives to the external 
architecturel appearance of the structures in the Perpendicul- 


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107 
Perpendicular style their peculiar impression, guite particul- 
arly asreeing with the English national chahacter. 

//§ #lready at the end of the 14 th century occurred the changes 
in the style at the rebuilding of the nave of the cathedral of 
Ganterbury (1378-1411), and likewbdse on that of the cathedral 
of Winchester (after 1394; Pig. 146), whose interior under the 
influence of the tendencies of the Perpendicular style exhibi- 
ts unusually slender proportions for English churches. By its 
rich choir stalls shé cathedral at Shester is famous (1485-1490), 
whose beautiful southern Sideiportal is reproduced in Fis, 147. 
fhe richest develooment of fan vaults constructed in stone is 
attained by the Rerpendicular style in the chapel of S. George 
of the castle at Windsor, erected 1460-1483 (wis. 140), in wh- 
ich the mouldings extend in bands like joiner’s work over the 
walls, and in a still hisher degree in the stately and even c. 
Capricious chapel of Kins’s Gollege in Cambridge (completed 
1530; Pigs. 148), and that of Henry VII in Westminster abbey in 
Bonden. Of the more important buildings with rich wooden ceil- 
ings are yet to be mentioned the churches of S. Mary at Cambr- 
idge and at Bristol, and S. David in Wales, and Thinity church 
at Stratford-on-Avon. 

The Bnglish cathedrals were frequently at the same time mon- 
astery churches and were then surrounded by Sreat arrangements 
of buildings intended for monastery plans, amons which the sp- 
lendid chapter houses were arransed as purely Gothic central 
buildings. (See page 81 and ground plan K in Pig. 139). with 
them were also directly connected the establishment for learn- 
ins. These occupied an important position in tngland and soon 
attained to high fame. Por example, at the end of the 13. th 
century the learned schools at Oxford were attended by nearly 
30,000 students, who were lodged as fellow associates in about 
309 halls, hospitals and halls, later chiefly termed colleges. 
In these colleges with their expensive sates, charmins forms 
of bay windows and colossal state halls covered by richly tre- 
ated vaults and showy wooden ceilings, the Perpendicular style 

// , found that peculiar continuation, which it has retained until — 
today in its principal traits as the “Enslish Style”. 


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edt dtiw) eoonkvorg oftls% eft to elebom named ont 
Y rebaw SoM ot beselqnoo eetwexil wobaiw sao1 sit to 
28 ONO da -_abaogeb oels slseal ts Isvbedseo ent 10 .esonentt 
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108 
IV. Scandinavia. 

In Scandinavian lands the Gothic style reached no peculiar 
native development. On certain monuments predominateiinslisna, 
on others German influences, amons the latter especially those, 
which come from northeast Germany. These soon crossed and ad- 
opted portions of the French form expressions, transmitted by 
stonecutters called in 1387 from Wrance to Sweden. On the wh- 
ole the art of the aothic middle ages in these northern lands 
has produced but few creations of importance. 

Tn Norway the cathedral at Drontheim originated in the 13 th 
cehtury (Pis. 149) and is to be mentioned (see page 42), whose 
splendid’ octagonal choir, the tomb of 8. 9laf, is kept within 
the forms of the Barly Enslish Gothic of the first third of t 
the 18: th century, while the three aisled nave and the transv- 
ersely arranged three aisled western buildins with two facade 
towers and rich treatment of the portal recalls the early Ger- 
man Gothic, but now only exists in ruins. The cathedral of 5 
Stavanger (page 42) received (after 1272) a choir likewise bu- 
ilt in the Early Enslish Gothic style. 

In Sweden the cathedral at LinkBpins forms the chief work of 
the period. Phe second building was erected (after 1232) in 
the transition period (the first was begun in 1150), but in i. 
its third period was chansed into a hall church with clustered 
piers and rich window tracery. In the building of the new ch- 
oir with choir aisle and three radially arranged chapels for 
the last quarter of the 15 th century, a German master Gerlach 
from Cologne participated. The cathedral of Upsala was commen- 
/yeed in 1287 by the French architect Etienne de Bonneuil on the 
 gathedral Sround plan as a brick structure with cut stone dec- 
orations. The choir, buttress system and the clustered piers 
are arranged in French forms; the remaining architecture of t 
the nave and the stately facade with two towers rather follow. 
the German models of the Baltic provinces (with the exesption 
of the rose window likewise completed in £485 under French in- 
fluences. On the cathedral: at Upsala algo depends the cross*” 
shaped plan of the cathedral at Skara, rebuilt in the 14 th 
century, and which exhibits in the end wall the rectangular c 
their with a masnificent tracery window with six bays. Great- 


| : ebevoine eew | soe. tabadhe 

To io edd “beeed vele af gobi no. words Iled sig 
, a eeeds to gniblind feborm # e4 .r98b10 enidecRiaa 
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. bus 886L asews 9d enode suid at bedoere® saw doidw sastebsl ge. 
‘ ;  asdeG .8 Qo doteds eid nebews io hives emersxe ods ol .OGAD 2. 

HSid oh fivod ,Biediateleh ts dotuio newack edd bos Sols os 

- efete stone .tiod® hobie evil diiw temiot edd .eleia sibbio ae 

| - sete rioto bebie seudd fdiw iedasl sit .efeqsdo to eiorio bas 


pt dotad nswie8 diiron Jo: ssfowsso ant o¢ heverbs .efsaado suodtiv 
: peeing tite’ ay . Foci 


eboaivesdiwe bas siatervh yosmie® 
Betntsacs josith s se resaas ton bib sidtvod edd ane al 
| nt eoust® movi bhegsxdensg di sud ,elyte noitiznsis sds to. nie 
X my olyse $18 besefamoo se ea yisdaso dt EE sid to sexnoo eds 
deotbiad edd efesbeddso aemis) tse1xk odd nt benisida Fi 
ees “ferences at si{daqeso asw ti doife fo inomooleveboséissiguavin 
&; eda : Beoniag Jaoxeliib edt Yo seisto conebixer suoremun oaf 
PES ‘eeidio to noissi9bei asidewe bas teiosd? ent Yo asitio saxty 
} waaoeliesni seen ieud & io e61dhSo edt eusosd sega sdJ lo bas 
Naivitse Jneciwosa teom esi bawod doids iit oitsisis bre fe 
“390 ed¢ to sonemitoi end reba. .sxudosaidors Yo nismob sad nt 
tists asiivoeg yasm hedoobs Iftte slyse oidsod sia Fiutae asm 
gen opis e7ew Saomdse1s mio edd Gas asia bavowg ans Ti seve 
i -dasmooleveb beaiwieteb ylase sd¢ to etinil odd otdtin 
a -sis ‘atodo edt io saexotnarie sat .ifodo ent Yo nef odd 104 
ft 


rd af youmoioce aissds son bib elegsto to siosts # déiw sf 
id noitaease gesd .osoneal of seeo edd esw es dose .S1se89m 
ce BI8oe *egodetd sonte wre ls eos of bisq sd of 
q bebioeb nem eso teredT .eusdope tel{sme doum ni yoem 
sie dose 108 ‘9ecs iodo Lanobyloo & to asiq odd tol of 
> siante 8 dsiw beiletsse ersa eedoindo ebisi ni asve 
=: snemaoleved eat af setwodtd .efets trots 8 tuo 
} re viteom Bsn elsie efbbia et to gddied dnitentmoh 
ate sofets gems” fie to esdbied: Compe yiases to Lenpe 
Bs stela 702 enaa1e® od Yo ifsc) ralucee edd of 
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, 
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109 

Greater favor was enjoyed in southern Sweden by the system of 
the hall church, on which is also based the churches of the B- 
Brigittine Order. As a model building of these is to be rega- 
rded the three aisled Brisgittine church with rectangular choir 
at Wadstena, which was erected in biue stone between 1388 and 
1430. In the extreme south of Sweden the church of S. Peter 
at Malm6 and the Frauen church at Helsinsbors, both wath hish- 
er middle aisle, the former with five sided choir, chorr aisle 
and circle of chapels, the latter with three sided choir aisle 
without chapels, adhered to the churches of north German brick 
Gothic. 


V. Germany, Austria and Switzerland, 

In Germany the Gothic did not appear as a direct continuati- 
on ot the transition style, but it penetrated from France in 
the course of the 13 th century as a completed art style, yet 
it attained in the great German cathedrals the highest teashue— 
ofvartistiecdevelopment of which it was capable in general. 

The numerous residence cities of the different princes and the 
jefree cities of the Rhenish and Swabian federation of cities a 
and of the Hansa became the centres of a business, intellectu- 
al and artistic life, which found its most prominent aétivity 
in the domain of architecture. under the influence of the Ger- 
man spirit the Gothic style still adopted many peculiar traits, 
even if the ground plan and the form treatment were also kept 
Within the limits of the early determined development. 

For the plan of the choir, the arrangement of the choir ais- 
le with a circle of chapels did not attain supremacy in the 
measure, such as was the case in Prance. hess attention had 
to be paid to the clergy, since bishops’ seats existed in Ger- 
many in much smaller numbers. Therefore men decided preferab- 
ly for the plan of a polygonal choir apse for each aisle, or 
even in larse churches were satisfied with a simple choir with- 
out a choir aisle. bikewise in the development in heisht the 
dominatins height of the middle aisle was mostly omitted. The 
equal or nearly equal:heights of all three aisles corresponded 
to the secular feeling of the Germans for plain simplicity bet- 
ter, than the rich Sraduation and subdivision of the basilican 
system. Phus the hall design in city parish churches was bet- 


S oi ay Si . wie 7 


, a ets: Peet 
a ub Led 
) iaik tin Aarhlehedted 
‘ieee iy vewurnt 
ay _pobeay see one teed hs rh aoe en bet 
sie a bila of edd betosie1 esw shsost edt to trentes1s odd at> 
coe ot i) r bas Slyte dose1t esc oF tatinesq: Ifite en uiee vinta 
ae | dh etetesm gae799 ef? \.ctiso® Yo crutenieds oF baogestx09 Jon. 
ae yd metlsoitsey hexitedaqme bus siveet teal ont oF tasn saed 
tke: Baeteni) someidne nism odd weve ewobaiw betnisa besevele ; 
pheaies edd to sotsouvrsdat edd yd bas (wobsiw seot dousad edt een 
- eeseLamos aif heniasts otdte® nsnre) si? .eseacadsnd sis yd 7g 
Yo emudostidors otteisotoersdo yitelyoitesq ens nb tremacleveb . 
 -veqmt teedgid edd to eivow baath ylurs beopborg foram .evenod 7. 
_ Wulerceaes oes bas .etswod ows atiw sebacsi ao diod sonst | 
.aswot elinte 2 no bedsidnson0D saw déknSatde etidns edd goaw 
“Sistem vite sdt .eiyte ocidto? sit to eheitsq serdd eis IO 2a 
B bad efyie oidtod ed sonie .molteinh teind yfevitsies s Bad ay. 
edd te enistsvom esseoV eds Haoyed xarifos aii bedoser ybeools 7 
|" Smo 088! wort bexwssage tI. .ynsm1ed ctak sonsitas ati to omid . 
| “Messtidedd ,baudebac te [exbsdsso) strenvvom niatass wi bas ©), ; 
_ eebsa $98 jhisdis Js déedect{d .8 Yo dowds (esver® ts sornto , : 
Ss eff 0882 guods sen Istete2 ofnit gmso sesil tug .(OSt BB 4 
; 


: 


e1siq: bote@ viquie ~:y0 bexiiedosisdo ei ofdte® samred yltes 

ted Roidoetora dzin .sotvoee seovo bawoy so sxeuce vitazom to 

yiisids af yicoext siamie edd bas .adix edd at shaver ,eoamnfoo 

‘RB bas ilewa dtiw erica ows ni HObivib ewobsiw :euroi telyosto 

 *yfevemted Letoten sesoiilom bas eduet eds ni eematoo Iu ¥soa1s 
ne ige end base. esenoritind to eqso seide® ielstiaso edt no asvasl ‘ 
pads eemrot tuo ylquie ni eeezertsud Saty{? to peitsa 
iaieds ie: (hoiveq tesd) ofnto® sata sdt ni tse OOSS dgodh ie 
98-110 hedfxceeb) dors bstniod Leisislispe edd .eteiaq bexreseulo 4 
hi oe bas ewobnin ,eyswioob am (eitasias [aretalings te 
: | {fice orew 1Ssvewod aeeleane Seodw mreene hebivreb “4 x 


as bon bowoi Lod viqesh es re dose.t8 behbigon ovew sdmst esP 

edit toev ent bas ,(ebavot tnisoetota suodtiw) ebasd vefua a 
af a0 edt Yo emtod Isapsen sot .sosde yasqint dslitesa s1ew a 
-agse 91 ‘isoe7 eseesidted oft. -bestlenoitnevace esi6sw eta yi 
Leindoetidors ss bed esaesitted oetylt eds bas eleini? 
teanes basis 9 nk fegsens ai eivsosstiors sewof .saemgo é 


119 
better suited as interiors for preaching and came into prefer- 
red use, particularly in the best and the late periods. 

[In the treatment of the facade was rejected the horizontal 
subdivision, still peculiar to the French style, and which did 
not correspond to the nature of Gothic. The German masters h 
here went to the last result and emphasized verticalism by. the 
elevated painted windows over the main entrance (instead of t 
the French rose window) and by the interruption of the cornice 
by the buttresses. The German Gothic attained its completest 
development in the particularly characteristic architecture of 
towers, which produced truly srand works of the highest impor- 
tance, both on facades with two towers, and also especially w 
when the entire strensth was concentrated on a single tower. 

Of the three periods of the Gothic style, the early Gothic 
had a relatively brief duration, since the Gothic style had a 
already reached its climax beyond the Vosges mountains at the 
time of its entrance into Germany. It appeared from 1220 onw- 


/o ard in certain monuments (cathedral at Magdeburg, Liebfrauen 


church at ?Preves, church of S. Elisabeth at Marburs; see pages 
126, 120), but first came into general use about 1250. The e 
early German Gothic is characterized by:- simply t®¢éated piers 
of mostly square or round cross section, with projecting half 
columns, rounds in the ribs, and the simple tracery in chiefly 
circular forms; windows divided in two parts with small and g 
graceful columns in the jambs and mullions; natural forms of 
leaves on the capitals; sablet caps of buttresses,and the exe- 
Cution of flyins buttresses in simply cut forms. 
About 1300 set in the high Gothic (best period) with vichly 
clustered piers, the equilateral pointed arch (described on an 
equilateral triangle) in doorways, windows and arcades, finely 
divided tracery, whose openings however were still early comp- 
osed of Ssometrical fisures in the most diverse variations. 
fhe jambs were moulded at each side as deeply hollowed rectan- 
Sular bands (without projecting rounds), and the vault ribs 
were profiled in pear shape. The natural forms of the orname- 
nts were conventionalized. The buttresses received cans with 
finials, and the flyins buttresses had an architectural devel- 
opment. Tower architecture is treated in a Srand manner. 


fhe | an , | ae 
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yisoowtbh edia eid sadt oe .eisticeo bas ebswon anitiise yiteom 
. @ @f etiness cibsoesifioxws ed? elfen bos eveta sad soeeistRi 
#)) efinsy to m10% beviconon yilesusmanto yloawq bus doin yaey 
vd evotame bas, (edit bovaso yidvob .ediwev ast bas gon .sede) 
~e bea) beeestc]eb .soldes beterolise ai tors sebo sds sonsyetera 
-tel .yseosit ot sebb|aid eit eds .ewobniw ni aedors bsrebhbfyode 
*bstentin .yddond .eanoloo oi esnibinom to eneivosesetni bsois 


‘) edt \ednemenio: edd af ehefiot herifsacitaevaod yieno1te beet \, 


‘tent bose syieneqxe diiv bodaivwwt vddeasiesa stew eletroa 
.(06f 8%) gedoxoa bstasat: vil 

ep beretdsce hsiesags sods: yausaso da GE ens to bua eda th 
, Sette orvesem Oniesetoni of .ddvok offs most eorol sonseeten 
-{anim stem seeds .yindneo as Sf edt to sihbim edd Lit¢an :008L 
-qsecuseth yisiidss bas yiwols doidwm .emyoi oingvod sist dtiw be 
isesdeiq yasm nit yintaoo at Ti edd at tertt .¢igsesx e es be 

 giemeatxe ei [foe namie ob estasnunom o¢eto® to dtfsen ent 
om yino aso ow .Soece bodinet ods ic sdasoons no tecd o8 J e8TR 
ete vbotooork eids wi ativow Inesaocemi ¢eow ot nottase 
-esoniverg I[stetostisgore susielifb.sdy o¢ 

-sidetd (18 shaq) benotinew vbseris edt yasenoo ented oat oF 
-goexe ylesitns: text? edt ei (CASI-TSS2) esved? ¢se dovusko neve 
burdeorstal yiesivoiiise eiutouste doando e barn ,piddoD es bet 
“ge 8 nf doidw .ndeiesbh [easneo s es neiqe bowork to mol etih xd 
yines ed¢ Yo vioto eds) ni mevia svitom ede esxitiey yaw betixi 
ST (fl .gtF reraeG rs00) eneiase ts bewY .2 Yo dorsdo oteso 
- 2-GES2)) Sapdusl te désdecif® .o Yo doundo eds yd bewoflot saw 
/eemts diin oefo bov01d beqsde~eeo1s © mo ndiesd [ied s (688! 
- even folate erst ond to nofdentaxed: sig eg srioss Lenokytos 
| \¢ebaeet-owd ins abaiw cesevensit (boiete eianiv) ows sos note 
’ biti adebeveio: Svigae sid .eetice bssunfom eviecem Atin exr9wod 
-t-setcatW ts dousdo nottsbanot eal .emiot eldom bas sicmie ni 
 eab)oeieS mo1t Searnter soetidors nai td besoore .BTSL-SSsr .F 
Bsspanieient: dt fwasetitesd feosde-ceor s ex) A munexionar1t avac 
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‘ et eeeennny cechte: eaodw .(06 shsa) Sivdes1#@ se [erhedsso tacub 


4111 

The late Gothic prevails in the entire 15 th century. It f 
favored the hall type of church without transepts, voreferred 
to replace the clustered pier by round or octagonal supports, 
mostly omittins rounds and capitals, so that the ribs directly 
intersect the piers and walls. The architecture results in a 
very rich and purely ornamentally conceived form of vaults (s 
(star, net and fan vaults, doubly curved ribs),and employs by 
preference the ogee arch in perforated Sables, depressed and 
shouldered arches in windows, the fish bladder in tracery, lat- 
ticed intersections of mouldings in columns, knobby, withered 
’eand strongly conventionalized foliage ia the ornaments. The 
portals were preferably furnished with expensive and splendid- 
ly treated porches (Fis. 150). 

At the end of the 15 th century there appeared scattered Re- 
naissance forms from the South, in increasing measure after 
1500; until the middle of the 16 th century, these were minsi- 
ed with late Gothic forms, which slowly and entirely disappear-— 
ed as a result, first in the 17 th century in many places. 

The wealth of Gothic monuments @n German soil is extremely 
great, so that on account of the limited space, we can only a 
mention the most important works in this Srouping, accordins 
to the different architectural provinces. 

In the Rhine country the already mentioned (pase 81) biebfr- 
auen church at Treves (1227-1250) is the first entirely execu- 
ted as Gothic, and a church structure particularily interesting 
by its form of sround plan as a central design, which in a sp- 
irited way utilizes the motive Siven in the choir of the early 
Gothic church of S. Yved at Braisne (near Paris; Fis. 151). It 
was followed by the church of S. Blisabeth at Marburs (1235-1 
1283), a hall design on a cross-shaped sround plan with three 
polygonal choirs as the termination of the three aisied nave, 
with the two (single aisled) transverse wings and two facade 
towers with massive pointed spires, the entire execution beings 
in simple and noble forms. The foundation church at Wimpfen-i- 
T, 1262-1278, erected by an architect returned from Paris (in 
opus francigenum), is a cross-shaped basilicanwith two Romanes- 
gue western towers from an earlier central buildings. Of the 
great cathedral at Strasburé (pase 38), whose mighty impression 


73! " 
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. tte 
Goethe once described with such inspiration, the three aisled 


basilican and spacious nave (fis. 152), was built 1250-1275, 


then the famous facade, the masterpiece of Erwin of Steinbach 


// (died 1818), and in the 15 th century the completed stone spi- 


re of the tower by Johann Hiltz from Golosne in 1439, on the 
whole inorganic, but risins to a height of 465.9 ft. from the 
substructure (foundation). On the minster at Freiburs-i-B, 
(page 36), the likewise basilican and three aisled nave was be- 
sun in 1253, and in 1854 the noble choir built after the plans 
of Johann of Gmund, with the French cathedral ground plan, hav- 
ins choir aisle and a circle of chapels (only completed in 1513), 
fhe western tower was placed on a simple square substructure, 
and wonderfully treated above, was in i301 carried up above t 
the bell story. In beauty of proportions it was equaled by no 
other one; it forms the “highest and clearest expression of t 
the Gothic idea”. (Fis. 98). The most most unified and greatest, 
pure in matured Gothic forms as if executed with one inspirat- 
ion, architectural work is formed by the cathedral at Cologne, 
in dimensions surpassins nearly all other French and German c 
churches, founded in the year 1248. (Fig. 153). The choir was 
completed in 1322 entirely after the type of French cathedral 
Sround plans of the best period (page 101). It almost comple- 
tely coincides with that of the cathedral of Amiens. mbe plan 
for the cathedral certainly was by master Gerard. The three 
&isled transepts projectins from the side walls by two bays a 
and the five aisled nave were probably commenced after 1322 a 
and continued until 1450. Then occurred a pause for nearly 
four hundred years in the buildings operations. Only in the 

19 th century the nave and the two colossal western towers we- 
re completed after the rediscovered ancient plans and with the 
spirited participation of the entire German nation. Of the o- 
ther more important buildings of the early and the best periods, 
the magnificent monastery church at Altenberg-o-L (1225-1267) 
follows Prence models. On the cathedral of S. Victor in Xant- 


/22en the choir plan is formed like one half the biebfrauen chur- 
eh at Treves. In Hesse the church of S.Eiisabeth at Marburs 


influences a series of buildings, amons which are the princip- 
al church at Alsfeld, the foundation church at Wetzlar and the 


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city church at Priedbers. The charming church of S. Gatherine 
at Oppenheim (1362-1317) agrees in the choir plan by the dias- 
onally placed chapels with the Biebfrauen church at Treves, b 
but follows the cathedral of Cologne in its rich buttress sys- 
tem, to whose school is likewise to be referred the grand cho- 
ir building of the minster at Aix=la-Ghapelle (see volume 1, 
pase 177). In the 15 th century originated the biebfrauen ch- 
urch at Worms-o-R, a cross-shaped basilica with choir aisle a 
and two facade towers, and the church of S. Willibrod at Wesel, 
a heavy five aisled basilica witha transepts; these so so far 
in richness of the treatment of the ceilings, that in the south- 
ern side aisle two systems of ribs are arransed above each ot- 
her, the lower ones extending as a network over the true ceil- 
ins. Of the churches in Alsace-Lorraine, the cathedral of Me- 
tz (Fis. 154), substantially erected during the 14 th century, 
directly refers to French models, particularly of Rheims. The 
minster at Schlettstadt is a work of the early period, and li- 
kewise S. Martin in Golmar with the western facade completed 
in the 15 th century, also the church at Rufach. The matured 
and late Gothic style is represented by the church of Thann. 

In southern Germany one of the first Gothic buildings is. the 
pasilican nave of the church of S. Sebald at Nuremburg, erect- 
ed in the second half of the 13 th century. Frog 13881 -1378 
was added to it the spacious eastern choir as a hall design. 
bikewise the nave of the church of S. Lorenz there, arranged 
without transepts (from the second half of the 18 th century) 
still has the basilican plan and a very beautiful hall choir, . 
Built in 1445-1472 after the plan of the cathedral architect, 
Conrad Roritzger of Regensburg. The facade with two towers re- 
tains a noble simplicity. (Fig. 155). @he first complete hall 
Church of Nuremberg is the three aisled Frauen church with s 
square plan with single aisled choir, erected 1355-1361, rich 
gable and splendid two story vestibule. There follow it the 
extremely richly decorated chapel of S. Mary at Warzburg (aft- 
er 1377), as well as the church of S. Martin at handshut (Bés- 
un before 1392), the Frauen church in Ingoldstadt (begun 1425, 
completed about 1500), and the Frauen church at Munich, built 
1468-1488. The three buildings last mentioned were built in 


sd Se NE ; an 
yo 2 bos at ae, e bis iusées Ma henkisa ais ) 
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cere yisse as déin ordto®8 asisave® to daow Ytotdo ada (BVEt 
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bus ysusneo do Sf ect mort esleis esrds si even nsoiliasd .xe 
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_ ete eqedsea .nsiasvel odd eivod a01seme ong yd OSE at beban 
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| : efoansiT e‘doadasdoa® aov 
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di etd® .ti0do betesnofe edt wort elets sersveneod battostoxrd 
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- etfosy ton bas iste hetsoifamoD .beewni nwaah eis doidw .eoee 
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edd seonsics isifer afi dnemento cota (NEL .arBdesotaetat Ife 
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toe brickwork usual in the region, in severe and somewhat tas- 
teless treatment of the forms, but with Srand and enclosed in- 
ternal effect. In Augsburs a master of late Gothic, Burkhard 
Bngelberser, again attempted the earlier scheme of the cross 
basilica in the church of S. Ulrich (£46441499), with luxuria- 
nt treatment in the latest forms of the Gothic style. To the 
Prench cathedral system returns the monastery church of the 
neighborins Kaisheim (1352-1387), a basilican cross plan with © 
double choir aisles, the outer one of which is divided in cha- 
pels. At Regensburg in the cathedral was carried out (after 
1275) the chief work of Bavarian Gothic with an early Gothic 
choir of three polygonal apses arranged after the German mann- 
er, basilican nave in three aisles from the 14 th century and 
a western buildings (Fig. 156) with a triangular porch from the 
15 th century, but the stately pair of towers were first comp- 
Leted in the second half of the 19 th century. A peculiar pl- 
ace amon’ the Gothic churches of Bavaria is occupied by the 
twelve sided central building enclosed by low polygonal chape- 
ls, of the monastery church at Ettal in the Bavarian Alps, fo- 
unded in 1330 by the emveror Louis the Bavarian, verhaps with 
the purpose of erecting a temple of the Graal after Wilhelm v 
von Hschenbach’s Titurel. 

fin Swabia the already mentionedfoundation church at Wimpfen= 
i-T. (page 120) ig followed by the church of S. Mary at Reutl- 
*/ingen (1247-1343), a basilican, spacious and nobly treated ci- 
ty church of the early Gothic style. As a peculiar creation 
for the later Swabian churches was the church of Heilise Kreu- 
tz in Schw3bisch-Gmind, erected by Heinrich Parlier (Arier) * 
as a hall structure with hall choir, beSun about 1330, the ch- 
oir building in 1351, and completed in 1521, It is a very st- 
ately three aisled design, whose nave is separated by slishtly 
projecting transverse aisle from the elongated choir. Phis h 
has a choir aisle with a circie of chapels between the buttre- 
sses, which are drawn inward. Complicated star and net vaults, 
that rise above slender round piers with low capitals, cover 
all interiors(#is. 157); rich ornament in relief enhances the 
dignified general impression. Phe same system, but with simp- 
ler choir ending, is found in the extremely graceful Frauen c 


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115 
church at Esslingen, begun 1324, (Fig. 158), in the erection 
of which with its splendid tower were ensased the most impor- 
tant Swabian masters (Ulrich of Bnsingen, Matth3us Ensinger 
and Hans B&blinger). Here further belons the hall churches of 
S. Michael at Schw&bisch-Gmiind and S. George at Nor@iingen and 
at DinkelsbUhl, also with hall choirs, while the foundation c 
church at Stuttsardt decides for the earlier form of choir, a 
after the example of the Frauen church at Esslingen. To a gr- 
eat work of the first rank the Swabian school of architecture 
rose in the minster at Ulm. In this buildings erected as a ci- 
ty parish church was to arise an unecualed monument of the in- 
dependent and heaven-aspirins sense of the citizens of the ci- 
ty en the Banube, in that powerfully aroused time of the late 
middle ages. Designed originally (1377) as a hall plan with 
three aisles of equal width by masters from the Gmind family 
of Parler, the buildings was transformed into a five aisled ba- 
silica without transverse aisle and with an elonSated choir 
ending in a half decasgon, by Ulrich of Ensingen, the sreatest 


2 ¢@erman architect of his time, who was also employed in Milan, 


Strasburs and Esslingen, taking charse of the building in Ulm 
in 1892. The side aisles were completed in the year 1500, and 
the masSnificent spire of the imposins western tower, which by 
its heisht of 528.2 pot. rises about 18.4 ft.hasher than the t 
towers of Cologne cathedral and thus becomes the hishest tower 
in the world, was only completed in the year 1890, accordins 
to the preserved designs by Matth3us Béblinger. To the Swabi- 
‘an master Matthias of Bnsingen, the son of the above mentioned 
Ulrich, is also due the minster at Berne, a pier basilica with- 
out transepts and with a strongly projectins porch openings by 
three sreat arches, and with moderate facade towers. 

* See page 126 under the note. fhat Heinrich Parlier may pass 
as the builder of the Kreutz church is certainly an assumption, 
whose correctness is not yet demonstrated against all objecti- 
ons. (See Dehio, Handbuch der deutschen KunstdenkmBler. Vol. 8. 
page 147). 

In Austria the hall type prevailed after the middle of the 
14 th century. It was already represented in 1295 by the mag- 
nificent choir at Heilisenkreutz, then in 1800 by the Augustin- 


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116 
Augustinian church at Vienna, and at the same time by the fam- 
ous cathedral of S. Stephen there, one of the most important 
works of German Gothic. The three aisled nave passes into a 
similar choir (dedicated 1340) with a polygonal termination 
of the aisles after the south German manner. In stead of the 
transepts are arranged two towers, of which oncy that on the 
south side was built an a slender pyramidal form rising direct- 
ly from the Sround (dedicated 1433), An example of the splen- 
Gid internal treatment is Biven by Fis. 159. In Bohemia the 
cathedral of S. Veit on the Hradschin at Prague (Fis. 160)-is 
the chief work of the Gothic period. It was begun in the year 


9.1344 by master Matthias of Arras, called from France by the e 


i ae 
Ry 
rN 


emperor Charles IV, as a cross-shaped basilica in a Srand sty- 
le after the model of the cathedral of Narbonne with round ch- 
oir, choir aisle and circle of chapels. After his death in 
the year 1352 the control of the building passed to the Swabi- 
an master Peter Parler, son of master Heinrich of Gmiind. * The 
latter was employed for 40 years on the structure, completed 
the choir in 1385, and commenced the massive tower structure, 
which took its place over the south transept as at the cathed- 
ral of S. Stephen in Vienna, but was only finished later. To 
the same master is also réferred the church of S. Barbara at 
Kuttenbers (begun 1386), an originally three aisled and later 
five aisled basilica with high middle aisle vaulted with doub- 
ly curved ribs (Fis. 161), a low choir aisle between the butt- 
resses, which are moved inward, and rich buttress system with 
doubled flying buttresses, but without facade towers. To the 
school of this master also belongs the Karlshofer church in 
Prasue (founded 13851). On this the nave system is connected 
with the central design, since the nave adjoins an octagonal 
structure, that was perhaps influenced by the imoerial chapel 
at Aix-la-Chapelie. The domical stone vault covering it appe- 
ars as a highly important structural work. 

* In some works on the history of art the master succeeding 
Matthias of Arras as architect of the cathedral of S. Veit in 
Prague is named Peter Arler. fFhis appellation has been demon- 
strated to be a jocose falsification of the Swabian name of 
“Parler”. 


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417 

In middle Germany some architectural monuments already ment- 
toned amons the works of the transition style take an import- 
ant part in the development of the Gothic style. Of basal in- 
portance was the cathedral at Masdeburs. (Page 33). It still 
received the Romanesque Sround plan, but with the French form 
of choir with choir aisle and circle of chapels. Its structu- 
re was begun in the old forms but carried on after 1220 in the 
Gothic style; only in the 14 th century was it partly complet- 
ed in late Gothic forms. bikewise the construction of the ca- 
thedral at halberstadt (Fis. 162) continues through the 13 th, 
14 th and 15 th centuries. The cathedral at Naumburg received 
about 1370 its early Gothic western choir. At about the game 
time the cathedral at Meissen was founded as a basilican plan 


‘2S with transverse aisle, whose nave was changed into a hall chu- 


reb in the 14 th century. The like change was experienced in 
the 14 th century by the spacious church of S. Mary at Mihiha- 
usen in Thuringia, now with five aistes, and in the second ha- 
lf of the 15 th century by the three aisled cathedral at Erfu- 
rt, enthroned on a massive substructure. The late period fur- 
ther produced a connected sroup of hall churches in the east 

of middle Germany, that exhibit the octagonal piers with holl- 
owed sides (shallow flutes) and the shouldered arch (page 96) 
in the windows as special peculiarities. Here belons the chu- 
rch of S. John in Plauen (1450), the church of S. Maria in Zw- 
ickau (efter 1465), the cathedral at Freibers-i-S. (after 1485), 
the Anna church in Annabersg (1499), the Wolfgang church in Seh- 
neebers (1515), the Gity church at Pirna (after 1502) and the 
Gastle church at Chemnitz (1514-1525), 

In Westphalia the hall form is the expressed native type of 
building. We have already referred to the cathedrals at Pader- 
born and Minden (page 34). The latter can also be counted am- 
ons the chief works of early Gothic on account of its spacious- 
ness and the magnificent decoration of its nave with rich blind 
tracery. In the 14’ th century,there orisinated as model hall 
churches with nearly square sround plans the church of S. Mar- 
ia at Herford and the Wiesen church st Soest, that carried to 
the extreme result BbetGethic principle of construction by om- 
ittins the capitals etc. A form of larger ground plan after 


On : he 


 aeee! a head Yd avota’ et asd ed? Yo Lebo oda 
1 642) ddebadeded 44 torsdo eetu0it 90! Sas bas sorenBl ds dowsdo 
| wt08 ft 40 sosta ‘Std at BVEL-GODL at besoete donoq bolete ows y 
¥ ek (682 .Be8) Jotwenvia te levbsitso: eis to slsis shite axons 
| Borne TRoindost bas {soinsioem io sosta wode ofséinesosiatio | BY) 
~ ieiadl Lia botusa ofdso8 steal edt ni aysttuoencte to ys t. 
ve ‘ontnae sosiq efessase s yaso00 ebasiwol asm198 décon od? ‘ 
“af bebusdo eis emiot ett senesced .elyte oiddod sit to uoitulo é 
_ ‘btbaeioe sit daiW .f{eivsten oviten tnetous ond sowdoiad oF — | 
| emseqgs (BEEI-ASSI) visdnebaed& at winodd ge dorado neinisdekd 
‘6dda81 cen Seds .ceinsiem ed ot extt .ctAkdoD Yotad dest 2 
seasioretetd eds acibesoove e19610 sasothnem oid yd boaoleveb bad 
| tots guatenoo {fed odt vieslveitiea seu otnt tdauoid settsl edFf | 
_ sBRSE. hedaoiveb ,Bisdagbasidiel ai site .2 lo downd> edt 20 
“126 en2 20 elds: eft Lisosy yreonts bas exotdium bedoeteb ode 
teteta yidsisbiesoo tod .seonsm islimie es nl .vetesim Susdes 
~eis es7ds oft .satissonoo oidek wode “ edg ef Joemésoisd af 
-idn imo, .(O86!1-886EF) ueisner9 gs siusW .2 to dowso edt to eof 
-on BeRitsdosisio $i .stsnredia estoind bese{e xed bane ber do 
dott betstem si? .dvell edd to sivde Leiosae ond vianisinde te 
__ BE odd of dd df odt¢ wort sdusdd ond ds ofdtoB Aotad to aiyée 
~eaindd 8 siteh .2 to doisdo edd yd besaeeexqes at yautuen ad ) 
. “1800 scisedts> edgy S28 , (83Df saat rewor) ixsansk ons at Sted . Bo | 
aeats) ebsttuveaast mi dowgdo medgstG edt .saudasboes® te do 
- sttods aigiw scaiiced oidtod s otnk bemsotensis . bio ar (OTAL 
i anofed oels ytudoeo dz Gl edt of ,feasdo bas sleie eeisvenest 
ferbedtso edt .iebnes? gs esdorsdo Isqienina birbasiae ows one 
| “-edeen. oud djiw esiorsdo fied dtod .siue¥ .& to dowsdo eas bos 


-B18wov «mt 
ent & Fovetar hh ofdtoS Aoiad ed¢y eeonivora oft{s€ oda al f 
‘svsdd ae .geitto sawsh edd ai yilstosqee .sonsoiiinaem tae y 


: -1i9 bas: Siaie iiodo ddimensiq bavors Lerbedtee donext odd tteL 2 
a -e80 edd ot saibsooos abeibiiva sad betoere bas efeqedo. to sfo | \ 
~smine Siew eobsost oft to eoostive sdt ydersdw .easdoe naor li y 
~esce) edotsd betefoo bas bexsib dosid to noivegtesis as yd bet Ve 
isdcemsato sat _, bawow’ esidw a wo waeoerd baitd yd oels conta i. 
exreeneeen aes? (282 .8i8) svs00 su18d ai si9W BieitsxODeb . 
& to t Ben cer te toodhd ss bi a -2 to domdo set! " 


4 
ald 
= 


Me 


418 
the model of the Hessian churches is shown by the Lbiebfrauen 
church at Minster and the Gathariege church at Oshabriick. The 
twe aisled porch erected in 1469-1474 in the place of the nor- 
thern side aisle of the cathedral at Brunswick (Pig. 163) is 


ya Characteristic show piece of mechanical and technical abili- 


ty of stonecutters in the late Gothic period. 

Phe north German lowlands occupy a separate place in the ev- 
olution of the Gothic style, because its forms are changed in- 
to brickwork, the ancient native material. With the splendid 
Cistercian church at Chorin in Brandenburg (1274-1334) appears 
a fresh brick Gothic, true to the material, that was further 
developed by the mendicant Orders succeeding the Cistercians. 
fhe latter brought into use particularly the hall construction. 
On the church of S. Maria in Neubrandenburs, dedicated 1298, 
the detached mullions and tracery recall the gable on the Str- 
asburs minster. Ina similar manner, but considerably richer 
in treatment is the Sreat show gable concealins the three ais- 
les of the church of S. Maria at Prenzlau (1328-1340), on whi- 
ch red and dark slazed bricks alternate. It characterizes mo- 
Sst strikingly the special style of the Mark. The matured rich 
style of brick Gothic at the ¢hange from the 14 th to the 15 
th century is represented by the church of S. Maria at Kéniss- 
bers in the Neumark (tower from 1458), and the Gatherine chur- 
ch at Brandenburg. The Stephen church in Tangermtnde (after 
1470) is old, transformed into a Gothic basilaca with choir, 
transverse aisle and chapel. To the 15 th century also belong 
the two splendid principal churches at Stendal, the cathedral 
and the church of S. Maria, both hall. churches with two weste- 
th towers. 

In the Baltic provinces the brick Gothic developed a luxuri- 
ant masnificence, especially in the Hansa cities. Men there 
left the French cathedral ground planswith choir aisle and cir- 
cle of chapels and erected the buildings according to the bas- 
ilican scheme, whereby the surfaces of the facades were anima- 
ted by an aiternation of black glazed and celered bricks, some- 
times aiso by blind tracery on & white sSround. fhe ornamental 
decorations were in terra cotta (fig. 164). Thus originated 


(29 the church of S. Maria at bibeck (1270-1310), the church of S. 


a as 


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r rt a ual ie 
a ' wr is 


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OY elk ed is se {fed off .nsredoG és doisto neiowdetD sntwuado 
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> ,biedaewetl ss Lexbedtso edt at teemsaon dois yisv 8 yd bas ey 
d ts teved .2 to eedommdo iisd Jséa® owt oT 896 beseLamoo | 
beleie cords 8 .gieneG. ge eins «2 to bas ,belets evil .xooakd : 
©a3 to edtow .ed14eq [eundoesidoia Leigosees tiedt ni sis ela 
peal. < ‘Nawsas9 de Sf odd to aidto® etal 


f2'.£ >; 


Viesti LV 
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yoasbasd ond One medeye eeeutsud edd .eseeam odd Yo notsutoe 
fof “seteTesy osiieél eds yd betagobs ton even .tddied brawod 
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dotdw “00isibats enpitas itiw iserd Stefqmos s COGS! tuods tak 
betatog edt al .yaetaso ds Bf eds Yo bus sus fidvau beavatsnoo 
~iseani Sbiw ea &afaevoo te encen smoolew 6 betnseerg esw dow 
dines tied¢ Oenister esostice [few sdt $08 .efdtesoa ea 210- 
~asnonen to tnemyotae beeveraxe odd Yo satooss ao shelivina mre 
aniosla exit dtiw sfeis sibbia bodous-abiw ont ekattotsg fat 
—issf{o edt at dotdw asvo .eefets ebie dtd bas staoagve sat to 
¥ asinorto yitasupest bas [lene 103 sosage yao benisner yioda 
tie Gedgooe edt désensd sostotites [lite erew ted? .ewobatw 
| -didxe saat ,foeT%s Isnteiai ewotnomsed yli{utasbaow «2 bs ouborg 
“of bas world eds most Snorstith yiletot vtifesbivibat as ast. f\ 
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y Bi ‘Toitedai 9d¢ fo moitsexs ods of soneseies al {OEE 
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4 ig Bo ed Yo 10 ot ponte 2 %o teadt aiaere dtio¥ 


. ‘ vi : ' : » 
i ‘a a 7 @ : ah’ : 
ery? a) ae ae >. 


i 4 
i 


119 
Maria at Rostock in the 14 th century, the churches of S. Mar- 
ia and of S. Wicolas at Wismar, the churches of S. Nicolas at 
Greifswald and at Stralsund, and amons monastery churches the. 
charming Cistercian church at Doberan. The hall system is rep- 
resented by the church of S. Johann at Thorn, besun in 1260, 
and by a very rich monument in the cathedral at Frauenbers, c 
completed 1388. The two Sreat hall churches of S. Reter at L 
Libeck, five aisled, and of 5. Maria at Danzis, a three aisled 
olan, are in their essential architectural partis, works of the 
late Gothic of the 15 th century. 


VI. Italy. 

Already about 1200, and thus at a time when the Gothic in 
France had not reached full maturity, its style of art also p 
penetrated from France into Italy by the mediation of the Cis- 
tercians. But what characterized the northern Gothic, the re- 
solution of the masses, the buttress system and the tendency 
toward height, were not adopted by the Italian masters. Tot. 
their inborn art feeling, strensthened by many centuries of e 
exercist corresponded only wide interiors of moderate heisht 
and a horizontal subdivision of the masses. And yet the sene- 
ral spirit of the time influenced them so strongly, that supp- 
orted by the particularly strons influence of the Cistercians 
in Italy and that of the succeedins mendicant Orders, it brou- 
Shit about 1250 a complete break with antioue traditions, which 
continued until the end of the 14: th century. In the pointed 
arch was presented a welcome means of Coverings as wide interi- 


ors as possible. But the wall: surfaces retained their south- 


ern privilege on account of the expressed enjoyment of monumen- 
tal paintings. The wide-arched middle aisie with like placins 
of the supports and hish side aisles, over which in the clear- 
story remained only space for small and frequently circular w 
windows, that were still svuificient beneath the southern sky, 
produced a wonderfully harmonious internal effect, that exhib- 


Cits an individuality totally different from the narrow and lo- 


fty cathedrals of the North. (Compare Figs. 168 and 170 with 
130). In reference to the creation of the interior, the srea- 
test was undertaken on Italian soil; for no cathedral of the 
North equals that of S. Petronio or of the cathedral of Milan. 


wat “Sb¥awe aud at run sie ses: Ei... Gh eas keh eit 
P  prelel fo +: phgereepathag OF aromian hiktiies eidd yelotoutra ot 
a 100 HNasiod .betse1s yLomte erom tst esw zSsiag [enodyiog sat 
| bier cela sid bas ebnoor edt to enottefer tosrrb odd oF baakesn 
et efsttase Beqoleveb yibnorwte ylevigsf[ex sds oD .wediuev sds 
“G09 Siom dovm oe Sas .ekeifot Levuten bonot rvilenoitasoxe tod 
 beqsde ss! déiw efyse aoitienest sid Yo emxot bud sds yLoow 
8 @ewnees YXeDerds wobeiw odT .enddoaos sit Ifsoes lige sadt 
2 dots sds batdosl ef soiaetxe etténe eft of .vevoaisdo selt 
"bas wol sdf .ofdto8 nisddr0n edt Yo Sense sit ni noteivibdgs 
edd bane eifen ebie sewol sism dtwoe eax Yo eioor sdbil ydexsad 
s ed aso sasattud gnivit oi? -“iseesoenow ei weseye eeoudind 
~peen09 at .esieis obie seddzin sd to weiv at bsdvimo yileatins 
a evods efstit sud baetxe elisw yroteresis sdé dofdw to sensu 
“Yo resos1sd0 edt stom emeare eesectdeud sad ‘esiafie ebie sat 
~~ bas abo sort eas yitasvoeitat sow .eotate Siew SUPASNBHOR 
“nev odd Yo eteogmi sit te bedusent emsed seboon heiodors weve 
“0m stew erowoF (OTE 1248) Vseutds ebke tisds eviese: ot eff 
ehiaed boots iswod fied em0 .@atnasbao {erens2 odt ai bobs loud 
dnemceleveb eng al (INE .842) .bedoetead tt as Satilited edd 
edt sutsolinad .eadoxe Betaioa edd yfteide vino sbsost sit to 
odd Yo enoitetini isin efsteit bos eside® ysoosid otif{-aretie 
“ye -ofdto® axsedtson sav Lisoes etenolt-eeor bos atovoore 
e edd 2o exsden edd o¢ mBisiet easom & boyolams ei visnenos7a 
-2i axsseew ed? .gtofos snetettib ak sidism Yo akorost .eiyse 
to taenmyoias edT .eoetq woda asisoivtagq 8 es beteext ean sbso 


‘-va1sxs. a8 of o1ed Seo1 eeivoessoss Ieinemsaxo at ensilsest odd) 
.(88r +283) -Hottet009b Sisvom bas bewwsgivor to sonsbnuds neds 
~s¥iss1susoo aL euvds [sibentso sat bewxwooo aslo bawork odd al 


 eneiorsdeio eda “0 hesuseitat esdoteds ed? .sxvcsom Ifewe vi 
sfodo. beeofons sefobtigtsen edt sved vilavens® ensoetons7s® bus 


ek yieal ditto ot asiq viodo eisT -elegsio shte «ssfltmie atiw . 


oA ainda bas vasoeuT ni even fos inev boleia ssudd 6 yo bentot 
slide -itowsmest toor eldieiv dtim evaa befets elenie a yd 
at eistl 198wol sis oktzo8-asifatt to #nemgoloveb edt at 

wy enone odd bd dousdo veda od? sOmts ne esboverq 


120 

Fhe architectural treatment but seldom shows the strict Goth- 
ic principle; this remained unknown to most Italian architects. 
The polysonal pier was far more simply treated, mostly without 
regard to the direct relations of the rounds and the plan of 
the vaults. On the relatively strongly developed capitals is 
but exceptionally found natural foliage, and so much more com- 
monly the bud forms of the transition style with leaf shapes, 
that still recall the acanthus. The window tracery assumes a 
flat character. To the entire exterior is lackins the rich s 
subdivision in the sense of the northern Gothic. The low and 
thereby light reofs of the South make lower side walls and the 
buttress system is unnecessary. The flying buttress can be e 
entirely omitted in view of the higher side aisles, in conseg- 
uenee of which the clearstory walls extend but little above t 
the side aisles: the buttresses assume more the character of 
Romanesaue wall strips. Not infrequently are iron rods and 
even aachored wooden beams inserted at the imposts of the vau- 
lts to receive their side thrust. (#is. 170). Towers were not 
included in the general. organism. One bell tower stood beside 
the building as if detached. (Sig. 171). In the development 
of the facade only chiefly bhe pointed arches, triforium, the 
pattern-like tracery gables and finiais with imitations of the 
erockets and cross-flowers recall the northern Gothic. Very 
Breauently is enployed & means foreign to the nature of the s 
style, facings of marble in different colors. The western fa- 
cade was treated as a particular show piece. The enjoyment of 


//, the Italians in ornamental accessories rose here to an extrav- 


agant abundance of sculptured and mosaic decoration. (Fig. 169). 
In the ground plan occurred the cathedral type in conparative— 
ly small measure. The churches influenced by the Cistercians 
and Franciscans generally have the rectangular enclosed choir 
with similar side chapels. This choir plan in north Italy is 
joined by a three aisled vaulted nave, in Tuscany and Gabris 
by a single aisled nave with visible roof framework. 

In the development of Italian-Gothic art lower Italy indeed 
precedes in time. The abbey church of the Cistercians at Fos- 
sanuova, erected by Wrench architects after French models (ab- 
bey church at Pontigni, page 46), was already dedicated in 1208. 


mA ; 


om 
i 


i eugiad oe aa oe 
seonses be or vo, auotemon of bowol, 
AN 9) sirdeisd of dévoe eds ai 8808 olvsinbs bas nsoewt 
s teido edt 358 .(sner®) yasoesT of ition odd ni ba. 
mas seqas sit ees t18 oidsol@ustiaisl to soemcoleveb sat 


ns, 
‘ 


pes ' 
ia sn 
, i. 


. 


sapeatie at bas yvasoesT at penne eon oi viasivoitseq .yletI of 


-sitonl 
fo eas ei (@LSI aegis) iffeoweY ts seabed .2 vist regen al 


~199 eogeetsind bas anteloo bersgeslo etI .doupto oidtod sesh 3). 


vias nesters io sonemitag toenth eds io aoktinsooe1 off tim 
-ts0L gan YIwdnso dt SE eds to "sJisso bueose edd nl .oidtod 
oi base ,ensosions1§ eas to wiivitos laaudostinors gesth sdt be 
ni eoesouest © .ensoingmod ods Jo isdt eew setisup teal sd 
aiods diin eqyd Isubediso eid eiaseorasy (ast sedis) snkolod 
ei yeRisaod te dowdo yodds edd exil) elsasdo ensuce bone slets 
~8V to moseye bedoindess sttewollot ifite sven ef? .(ybondanG 
“bed GE oinosnh .2 yd awode ei ti0do to wiet emse ed .dridis 
. eatevansid bas even eds te anitivev end al A(VOEI-SESD) Su 
“eye bemob sid to sunenttat gooTte old ened besasiqxe ste elets 
wutase dt &L edt io bas edt tuodA .ecineV ai coms .2 to med 
_bawot emsced ersiq sit .nompoo e10m smsosd sedoiis bed [usy 
-i¥ ai oxnoto0d -¢ spois nedT .esevosds Isnoastioo bevisos1 bas 
Pe bas O66!) taist® ish dowsdo asoeionsr® ond .(O88I) exaso 
@ . (666) soinsV si ofos# 9 imnsvet® .€ Yo doasdo asoinimod 
" baesuod ont eniates (EEL usged) eubs9 gi snimxad Ish sitsh 
~x5 sesldon Sct ef shsost. oft .syed susupe gin notsouudenoo 
.viesI seaay to siyte otdto® yiuse sdt to slums 
ons to dorsde evomet odd yd nodes Of nOtsinoa snsbhusasbni oA 
8 tlivd ,(68f .2i%) sived teen (yrssesnom neisodtisd) secs3s0 
' tim nalg belets ssikt 6 Bs enoiqmeo 16 corsM yd ObEL ast te 
.thodo: bus elefs eaisvensit even edt to eedie dios ss elsasdo 
“ares bas 88019 sat to emis {espe ssadt es bednsiis isitsl dé 
“aiog 9% etivsy edt .g9eq8 ssxdd dit @9oTt fiotsad af Soitseni : 
“oT 93. bavot vbsouls o18 ewobniw bas esbsoxwe sat ait tog bet 
aa to 900 Edases1g foidy, .Ponserisneh ylvae efs to sedous baw 
. -9bs08? efdass aiden edt nt exyow toeorfifnkes teom bas seentt 
ole ek igooei¥ osseols® sinb .seodie0 sit fo ishovot edd of - 
4 asqqu Yo oidsod edd mi doxude {gaioaixa eff berisie1 od of oe 
S86L f besnennoo kaw aI .aslit Yo Lerbedtas eds .eleat 
bnad ead ai even beiets ovit ddiw asld beqade-enor9 


Mi EET Ren See ; ; ba, hl ye 4 ee 


Bury 


4 


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(rine ‘ay d 
Pie ; Fi as PF 
ar ay 
‘ yt ae 


ot ed vom ebase Link, est 


* : 
a eee ee ae ee 


121 
Its influence may be followed in numerous churches between the 


fascan and Adriatic Seas, in the south to Galabria (Gosenza) 
.nd in the north to Tuscany (Siena). But the chief region for 
the development of ItialiansGothic art lies in upper and midd- 
le Italy, particularly in bombardy, in Tuscany and in adjacent 
Umbria. 

In upper Italy S. Andrea at Vercelli (after 1219) is the ol- 

/$i.dest Gothic church. Its clustered columns and buttresses per- 

mit the recognition of the Girect influence of Parisian early 
Gothic. In the second quarter of the 13 th century was locat- 
ed the great architectural activity of the Franciscans, and in 
the last quarter was that of the Dominicans. S. Francesco in 
Bologna (after 1248) represents the cathedral type with choir 
aisle and square chapels (like the abbey church at Bontigny in 
Burgundy). The nave still: followsthe restricted system of va- 
ulting. The same form of choir is shown by 8. Antonio in Pad- 
ua. (1232-1307). In the vaulting of the nave and transverse 
aisle are expressed here the strons influence of the domed sys- 
tem of S. Marco in Venice. About the end of the 18 th century 
vaulted churches became more common. The piers became round 
and received octagonal abacuses. Then arose S. borenzo in Vi- 
cenza (1280), the Franciscan church dei Prari (1830 and the 
Dominican church of S. Giovanni e Raolo in Venice (1333). S. 
Maria del Garmine in Padua (begun 1373) retains the Lombard 
construction with square bays. The facade is the noblest ex- 
ample of the early Gothic style of upper Italy. NE 

An independent position is taken by the famous church of the 
Gertosa (Garthugian monastery) near Pavia (Fig. 165), built a 
after 1346 by Marco di Campione as a three aisled plan with 
chapels at both sides of the nave, transverse aisle and choir, 
the latter arranged as three equal arms of the cross and term- 

/2; inating in trefoil form with three apses. The vaults are poin- 

ted. But in the arcades and windows are already found the ro- 
und arches of the early Renaissance, which presents one of its 
finest and most magnificent works in the noble marble facade. 

To the founder of the Certosa, duke Galeazzo Visconti,is al- 
so to be referred the principal church in the Gothic of upper 
Etaly, the cathedral of Milan. It was commenced in 1386 as a 
ecross—-shaped plan with five aisled nave in the basilican char- 


”~" i er Cn a ee " , 
Te ane Oe ee a ey 


a 

a Ja, ‘ee ; AS Yee 
Be Pe ee eee | tae, on Ti, 
; “ae P La ~ Pr | lo ‘ = a mY ~ i ; Y. ~ ; 
: bul b) i: 14 e cas Wee evr .t . f id es Ae #7) , 
i if , ee r ; ; ; 
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ae eee es ts ; 
it os va an Ye is 


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wana ‘sfbbim od3 nds «tewol eidesebienoo ovs coleis ebie 


a 
. the ttode dtin Isnogsdec tiodo sit ,beleis vexds 218 esqoansyd 


edonsse. sii¢ne etf al .eleaqsio to effésic oct suodtiw bus sfe 
et asereidiud io metaye begoleveh bos exsia beseseulo dtin sag 
~-d3 vikaoite e10H dom tis atedsxoa to someulini sit beresraxs 


_ toe1e ede Sniww@ .ydesI Yo elerhsdéss ofdiod tsdto edt ot os 


tb beifso yltneupest sxew eisseam oswis® guiblind edt to got 
e8sq 962) nednien® toe dotall bas bdatwD to refxs8d dotrnish exif 
“ser odd hetoetis yleeolqied etostsinows asifedt edt nade .(bSE 
~dosen esudonste Ieseoloo sdf .esitinoritib fe.esonase 2att ly 
-veeced bed ti tedis .yiwimeo dé Sl edt at senit noidstawos be 
‘rOmt0T ‘elyse adi of ngiet0? .eomis aetel ni enotsibbs ynew be 
~iw oldon at betuoexs .erstostidows Isnissxe ovitae ett pt tof 
“H00 dasinvxul s es sisscgs Istheditso seons{i oad .eloasm 9st 
AG6I .bi8) tron Letaemenr0 beivtaleoe seedoix sid to yaodsvise 
-il Satblisd sd¢ Yo metesgxo esoinemisd seiwon edd eteveo dtsad 
-bediso sit madt wets912 et Sa¥ -hemTse sdats bibselae sa sd 
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pasilican character, but without clearstories. The two outer 
side aisles are considerably lower than the middle one; the 
transepts are three aisled, the choir octagonal with choir ain 
sle and without the ciréle of chapels. In its entire struct- 
ure with clustered piers and developed system of buttresses is 
expressed the influence of northern art much more strongly th- 
an in the other Gothic cathedrals of Italy. During the erect- 
ion of the building German masters were frequently called in, 
like Heinrich Parler of Gmtind and Ulrich of Bnsingen (see pase 
124), when the Italian architects helplessly attacked the res- 
ulting structural difficulties. The colossal structure reach- 
ed completion first in the 19 th century, after it had heceiv- 
ed many additions in later times, foreign to its style forms. 
But in its entire external architecture, executed in noble wh- 
ite marble, the Milanese cathedral appears as a luxuriant con- 
servatory of the richest sculptured ornamental work (Fig. 166), 
that covers the nowise harmonious organism of the building li- 
ke a splendid state garment. Yet far greater than the cathed- 
ral of Milan, whose internal area is equaied by no other Goth- 
ic church in the world, the rich city of Bologna conceived the 
idea of establishing a church dedicated to its greatly venera- 
ted protecting saint, S. Petronio. According to the plan des- 
igned by Antonio di Vicenzio of Bologna with the assistance of 
Fra Andrea Manfredi, a colossal structure of unheard of dimen- 
Sions should arise with a length of 708.7 ft. and a width of 
355.6 ft. across the transepts. (The corresponding dimensions 


sof the Milanese cathedral are 485.3 and 288.7 ft.), as a three 


aisled basilica of the cathedral type, yet with square chapels 
(according to the precedent of S. Francesco there, see pase 
132), which should also extend along both sides of the transe- 
pts and of the nave. Unfortunately only the nave came to be 
erected. Political occurrences and the besinnins of the Rena- 
issance brought the building to a stand. In the year 1647 it 
was decided to not continue the work further and to terminate 
the nave by a small choir niche. But even as a fradment, S. 
Petronio presents to us the most perfect interior in Italian 
Gothic. Of the small Gothic churches of upper Italy, S. Maria 
in Strada at Monza (after 13893) affords an attractive example. 
(Fig. 167). 


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123 

In middle Etaly already in 1228, thus at a time when Germany 
could show no real Gothic principal churches, one of the chief 
Gothic churches of Italy was founded in 5. FWrencesco at Assizi. 
Phe high terraced site was utilized for the construction of a 
lower church, over which rises a single aisled upper church, 
consisting of five square bays, of which the eastern one is ex- 
tended by an altar apse, and at both sides by somewhat smaller 
bays forming transepts. Bold wall piers, subdivided in the 
sense of the northern architecture, support the cross vaults 
and their ribs, treated as wide moulded supports. The effect 
of this unified and undivided interior is uncommonly dignified 
and imposing, being supported by the artistically very import- 
ant frescos. The churches built by the Franciscans, of S. Fr- 
ancesco at Siena, Bistoja, Pisa and Sortona have the ground p 
plan of the monastery churches of the Cistercians with square 
and cross vaulted choir, that is flanked by similarly arranged 
/ép-small chapels. Their most important and truly grand work is 
the great church of S. Groce in Florence, begun in 1294 after 
the plans of the cathedral architect Arnolfo di Cambio as a 
three aisled and spacious basilica with transepts, which are 
enlarged on the eastern side by ten chapels, whocse centre is 
occupied by the polygonal choir. The interior exhibits in the 
middle and side aisles the visible framework of the roof.(Pis. 
168). The dazzling white marbke facade is a work of the 19 th 
century executed after an old design. 

Otherwise the churches of the mendicant Orders are externally 
plain rough brick buildings, whose facades still await their 
facings. Phe Dominicans followed basal principles similar to 
those of the Franciscans, but besides the single and three ais- 
led churches with visible roof framework also treated such wi- 
th vaults, and originated the beautiful three aisled and vaul- 
ted and cross-shaped basilica of S. Maria Novella in Florence, 
begun in £278 by the Dominicans Sisto and Ristori, completed 
in 1357 by Jacopo Talenti. It is the noblest work of Tuscan 
Gothic. * Its system is afterwards met with in the cathedral 
of Arezzo, located farther sorth. Giovanni Pisano erected in 
Pisa the famous Gampo Santo (1278-1283) a rectansular cloister 
surrounded by portocos internally beside the cathedrala The 


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124: 
little church of S..Maria della Spina there was built in 1230 
and enlarged in 1823lhas a rich marble show facade, on which 
the luxuriant finals are quite loosely olaced. 
Phe epoch-making chief creations of the Gothic in middle It- 
aly are the great cathedrals of Siena, Orvieto and Florence, 
mhe cathedral at Siena was begun before 1250 as a three aisled 


/j,nave with similar transepts and a choir, that appears as a con- 


tinuation of the nave and ends in rectangular form. The piers 
with square nucleus and four half columns are faced with alter- 
nate courses of white and darksreen marble. The entire inter- 
ior is covered by round arched cross vaults; over the intersec- 
tion of the nave and the transepts rises an inorganically pla- 
ced dome over a hexagon set diagonally and changing above into 
a twelve-sided polygon. A true masterpiece is the facade des- 
igned by Giovanni Pisano in 1284, executed in light, dark and 
red marbles, furnished with overrich sculptures, on which scar- 
cely one stone remains without ornament. (Fis. 169). 

* Hichael Angelo was 80 enraptured by the church of S. Maria 
Nevella, that he called it his bride. 

In striking contrast to it is executed the facade of the ea- 
thedral of Orvieto. The building was commenced before 1285 a 
and from 1310 was carried on by the Siena architect Lorenzo M 
Maitani. The architectural members here have somewhat reduced 
projections in favor of an unusually rich and splendidly color- 
ed mosaic ornamentation. Not only do the tympanums and wail 
pantlis gleam with figure compositions on a gold ground in sglow- 
ing splendor (indeed but partially belonging to the 14 th cen- 
tury), but also all purely structural members, even the finia- 
ls are covered by mosaic decoration. The interior is a three 
aisled columnar basilica witha visible ornamented roof framins . 
over the nave and vaulted transepts and choir, that terminates 
just like that in Siena. : 

Phe cathedral in Florence was begun in 1296 by Arnolfo di © 
Cambio, was interrupted repeatedly, and after long conferences 
and several competitions was completed in the year 1462 by dif- 
ferent masters, among whom are to be named the famous painter 
Giotto di Bondone, Francesco pfalenti, and the sreat Roman mas- 
ter Filippo Brunelleschi. The great aim of the Florentines w 
was to establish in it a work, which should surpass all others. 


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125 


churches of Italy. The ground plan is composed of a three ais- 


Led nave with four continuous bays and a central structure, t 
that consists of an octagonal domed space and of three polysgo- 


ynal apses occupying the places of the transepts and choir. Tf 


Fhe apses are each enlarged by five square chapels lying betw- 
een the buttresses, that are drawn inward. In the structure 
the Gothic style assumes an expressed Italian character, where 
the ornamental forms of the Gothic are fused with antique sub- 
divisions and arrangement of lines. The interior (Fis. 170) 
is more effective by the bold proportions of the arches of wi- 
de span, than by the perfect harmony of all parts, the exteri- 
or by the facins with white and dark green marble slabs. The 
main facade was even commenced in the 14 th century, was rich- 
ly adorned by statues and reliefs, but in 1587 as being*oppos- 
ed to”. architectural rules and reason”, it was removed and on- 
ly erected anew in the last quarter of the 19 th century with 
reference to the ancient plans. In perfected beauty parades 
the bell tower erected beside the cathedral. (fig. 171). Gio- 
tto designed the plans in 1334, which were also retained in 
general by the later architects. The tower rises from a squa- 
re ground area undiminished to a height of 275.6 ft., and ind- 
eed has an enrapturins effect by its dignified marbel covering, 
finely treated cornices, and the rich handling of the windows, 
ever becoming larger upwards. (Fis. 172). 

All these churebes belons to the basilican type. The hall 


system is only represented in the Gothic period in Italy in t 


thecanhedpal of Perugia with three aisles of equal height, af- 
ter the northern manner (as in the church of S. Elisabeth at : 
Marburg). It was begun in 1800, but probably first transforn- 
ed into a Gothic hall churca by its rebuildins in 1447, To 
the 15 th century likewise belongs the cathedral of Pienza, w 
which on the order of the Pope was imitated from an Austrian 
hall church, but only appears Gothic in the ground plan and 
the treatment of the vaults, while the architectural details 
and the facades already exhibit the forms of the early Renais- 
sance. 

The capital city of Rome remained far behind in the rich and 
Sreat architectural activity of the cities of upper and middle 


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Te8iy on account of the tnt aver 
Etaly, on account of the unfoavorable political. conditions -- 
the noble families were in strong enmity in the Gothéc period 
with each other, the people and the Papacy. The Oosmati (page 
53) indeed enriched their minor architectural works with Goth- 
ic forms, and had created magnificent works, with which furth- 
ermore the works of Florentine masters competed even on Roman 
soil. The single great architectural work of Gothic in Rome 
is the vaulted church of S. Maria sopra Minerva, erected efter 
1280 by the Dominicans, whose three aisled nave is enlarged by 
side chapels, and whose transepts likewise end in choir chapels, 
the middle one terminating with a semicircular apse. 

In lower Italy the dry early Gothic developed in the time of 
the Hobenstaufens, but still rather remaining in the transiti- 
on stage, was introduced by the Cistercian church at Vossanuo- 
va (page 181), under the French monarchs of the house of Anjou 
(1266-1442) was succeeded by a “decomposed and reduced late G 
Gothic” of a Bursundian tybe, of which S. Lorenzo in Naples (: 
(1266-1824), a church of the cathedral type with choir aisie 
and five radial chapels, represents the most important monun- 
ent. In Sicily the earnest Norman architectural forms are com- 
bined with the Sayer Mohammedan ornament and the Byzantine sp- 
lendor of pictures into a harmonious unity of peculiar magnif- 
icence. (Pig. 173). The porch of the south side of the cathe- 
dral of Palermo (Fis. 174) is a work of this style from the m 
middie of the 14 th century. 

Offshoots of the Gothic of lower Italy also found admission 
fartber Fast in Cyprus by the mediation of the crusades, where 
among others the metropolitan church of 8, Sophia in Nicosia, 
erected at the besinning of the 18 th century, ekhibits a plan 
allied te the cathedrals at Sens and Paris, yet wanting the c 
circle of chapels. Even in the Holy band may be followed the 
echos of this style in church architecture, even if then are 
also proved now in few architectural remains. 


VI. Spain and Portugal. 

About the middle of the 18 th century the Gothic style found- 
entrance into the Iberian peninsula, and indeed it was the art 
style of northern France, which in its full maturity was chie- 
fly introduced by the mediation of the Cistercians. Yet thé 


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) <afods)atedsuon edt to bastent (sobem sfliass) [saad bs1908¢ | 
_ Whiaetat beotttel s yd atede “atesiag sdt dt¢iw zias gaitosnmes P 
_)eetewdedt .2leqsdo to awor yd bokislus aston eodeia sbia od® 
edd of bished al .eilsw Isqvetxe ifs te beenistuocs vitasupest ah, 
_ *©s0metoletg tso12 4 dove horssqqs s19ds .aelg bav01R to w10t 
othe: dotm bas efeta siodo dtinw ueteve fetbedtss dowex4 sdt rot 
> biasve) (etedt o¢ anol boredbs ylmxtd aom seda .2leaede to ef : 
| af obfd, ,Sonsaeieush sat to taomsoaavbs evorsofory odt ania ‘ 
(madd od aeiivoeq saxs00 s: ovascg aletbsdgao deinsce ods stds 
ate \widoit di tsext neve bas ietetolo edt nissex vedd dedd af: 
i (8 SE timo *xqodetd edd Yo aedowwde axettaoa Isqientza sds efi My 
. Op aedq tarenss siti at) 2A .vindaco dd SE ode setts efex s as ¥I 
_ ~-eReQus@to1g edd sxoW od ont bus snotteler {sixs sat at ole ii 
Po ‘sutantied edd dil .evivsutwiesss text? 38 gone19 atedtron to 
_ f Yoeeomsultat ods ylgaoits o10m issqqs. Wissdso di Sf add tos 
ihe ‘Yo text efostidors ea? = .eana1 nuedtwoe to olyse gis oat 
Agfeoyers a heselqnoo yedt bas .2xotistat basxe ofssxo of bants 
_ ~titesd edt oels ydereds tef .aix0ow Isangourse tasticgmt yey 
. | I ad Aw bas Sasodtion ed? at berseqqseth terrt odyt cao 
ad emgtoosidos dommdd) sate’ Lis at. setestaeo at St bao 


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127 
style only attained here in a limited sense to an independent 
development. The two young Christian kingdoms of Aragon and 
SGastile were in the 18 th and 14 th centuries too much occupi- 
ed with the arrangement of their political conditions, to be 
able to devote themselves to an energetic fostering of art, a 
and likewise Portugel, and when in the course of the 15 th cen- 
tury the people of the Iberian peninsula were favored by the 
epoch-making discoveries of their seamen, and rose for a prief 
period to a world supremacy, by which unexpected wealth flowed 
to them, then men were compelled to call foreign artists imto 
the country. Chiefly Netherlanders, Germans and Italians were 
invited. On the works instituted by them was sradually formed 
an independent and natural style of art, but which was less e 
expressed in the form of plan of the buildings, than in their 
spaciousness and luxuriant and ornamental treatment of the so- 
uthern character. 

In Spain the churches retained the high enclosure of the pr- 
riests” choir in the middle aisle (page 57), placed their most 
sacred chapel (capilla major) instead of the northern choir, 
Connecting this with the priests’ choir by a latticed passage. 
The side aisles were enlarged by rows of chapels, that were 
frequently continued at all external walls. In regard to the 
form of ground plan, there appeared such a great preference 
for the French cathedral system with choir eisle and rich cir- 
cle ef chapels, that men firmly adhered long to there, even d 
during the victorious advancement of the Renaissance. Also in 
this the Spanish cathedrals pursue @ course peculiar to them 


‘in that they retain the cloister and even treat it riehly, wk- 


ile the principsl northern churches of the bishops’ omit it 4. 
as a rule after the 13 th century. As in the general plan so 
also in the axial relations and the like were the protgtypes 
of northern France at first determinative. With the beginning 
of the 14 th century appear more strongly the influences of t 
the art stylo of southern France. The architects first of all 
aimed to create grand interiors, and they completed these with 
very important structural works. But thereby also the basili- 
can tybe first disappeared in the northeast and in the 15 th 
and 16 th centuries in all Spain. Church architecture turned 


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| “es er ari to eamxot sdt af asunttaco siusousse od? 
“99S G19" e19fe8m ois dotdw dviw vo .beaed sis adiow sdz dotaw | 
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ih saree betiwil ylteids sxew akaiaeco wobuiw. aft tuG .asgasito nd 
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a S amano . evide10208 bas 2ent{ oidtod to oitgobs odd dziw ad 
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ba sr sadgied ox xoveebu0 beont anon od aly tte 
uineiuotss he amit amma 


128 
to the hall system, which favored the endeavor for a unified 
treatment of the interior. This appears in the northern prov- 
inces in its pure form, but in the middle and southern regions 
passed into a peculiar development. There the buildings assu- 
me &@ very wide plan in the form of a slightly elongated rectan- 
gle with five or seven aisies, among which the middle and that 
taken as the transverse aisle are but moderately wider than t 
the others and are but little higher. The eastern side termi- 
nates either in a rectangle or in small chapels, which are re- 
peated along the sides. Thus these Spanish church buildings 
approximate in the form of ground plan to the arrangement of 
the mosque usual among the Moors. 

The structure continues in the forms of its prototype, on w 
which the works are based, or with which the masters were acag- 
uainted in their native country. VPherefore it is very rich in 
changes. But the window openings were chiefly limited to smal- 
ler dimensions in comparison to those of the northern churches. 
The heights of the side aisles as a rule were reduced outward 
(as at the cathedral of Milan, page 183). The tower structure 
over the crossing,already peculiar to Spanish churches in the 
Romanesque period (cimborio, pase 58), was retained and treat- 
ed with particular richness. (Pig. 177). 

In architecture and decoration the Spanish art spirit first 
appeared more strongly; there developed that rich and flourish- 
ing late Gothic style, which the Spamiards designate as “esti- 
lo florido”. Almost the entire second half of this century be- 
/¢21ongs to it. It is also much permeated by Moorish motives, b 
but follows the basal course of the luxuriant Flamboyant (Fis. 
175). Besides it the Mudejar style (see volume 1, page 124) 
practised by the Moorish workmen and artists, more indeed in 
palaces than in church buildings, reached a splendid developn- 
ent, to whict Moorish technics the the Moorish ornamental sty- 
le, with the adoption of Gothic lines and decorative forms, 
gave its individual stamp. (Pigs. 172). 

About the end of the 15 th century appeared an enrichment of 
the ornamental expedients of architecture peculiar to Spanish 
art. In the continued endeavor to heighten the artistic effe- 
ct, the ornamental forms of metal work, particularly those of 


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-f6 ,eteig isbasle yiisueuas a0 ansaa ebimw yisw to asdove 518 


beatex yfestersbom tud s bas .esiais sbita edt revo eatisif[ss yt 
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129 

the soldsmith’s art, which then flourished greatly in Spain, 
also found entrance into architecture at a time, in which the 
new Renaissance motives came there from Ttaly. Thus orisginat- 
ed the Plateresco, i.e., “Soldsmith’s style”, in which the fl- 
ourishing Flamboyant was fused with the fine patterns of the 
Mudejar and the elements of the early Italian Renaissance into 
an extreordinerily graceful and showy art style. Its beginn- 
ings go back to the year 1480, but it only reache full maturi~ 
ty in the 16 th century. 

The three chief works of Spanish Gothic of the 18 th century 
belong to the school of northern France; these are the cathed- 
rals of Burgos, Toledo and Leon. The cathedral of Burgos (Fis- 
177) was founded in 1221, and is a three aisled choss-shaped 
basilica with choir aisle and rich circle of chapels. The na- 
ve has clustered piers with massive round piers in. the choir 


-and rich decorations on bases and shafts. The facade forms 
the show piece of Spanish Gothic architecture. The two state- 


ly western towers were erected in complete consistency by a @ 
German master Johann from Cologne (1442-1458). (Pig. 179). Yet 
more imposingly planned in proportions is the cathedral of To- 
ledo (Fis. 180), begun 1227, with a double choir aisles and a 
circle of chapels, that are continued to the western facade, 
adorned internally by richly subdivided piers and splendid sb- 
ow decoration, interwoven in which are Moorish motives of many 
kinds. The cathedral of beon was built in the second half of 
the 13 th century and bears strongly expressed the traits of 
the Gothic of northern France, that may be recognized in the 
almost complete resolution of the walls into the windows. In. 
the lines of its plan, it follows the system of the plan of t 
the cathedral of Rheims. At the end of the 13 th century was 
also commenced the cathedral of Barcelona (1298-1448), a three 
aisled building with chapels between the buttresses moved inw- 
ard, arches ef very wide spans on unusually slender piers, ai- 
ry galleries over the side aisles, and a but moderately raised 
middle aisle. Yet wider is the middle aisle of Maria del Mar 
in Barcelona (1328-1383), widest of all churches on the Spani- 


/ sh mainland being that of the collegiate church of Manresa (n 


(near Barcelona) with a distance of 60 ft. between axes. But 


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139 

even this dimension is still inferior to that of 64 ft. in the 
middle aisle of the cathedral in Palma on the island of Malor- 
ca, allied to the cathedral of Florence in spaciousness, WPin- 
ally the cathedral of Gerona (in northeast Spain) in its sing- 
le aisled nave extended by chapels and placed before the three 
aisled choir, -- it was originally planned with three aisles,-- 
reaches in the four cross vaults a span of 73.0 ft., the srea- 
test span of a vault in all mediaeval architecture. 


jus? The hall type is splendidly represented by the cathedral of 


Saragossa. (Zaragoza). Phis building was erected after 1318 
as a rectangular ground plan with five aisles and five bays in 
each, ea row of chapels on both sides, transepts, which de not 
project beyond the line of the chapels, three abses and a cim- 
borio, the largest ball church in the world. he chief work 
of the 15 th century is the cathedral of Seville, planned in 
colossel dimensions and built after 1403 on the site of the 
old chief mosque. Its ground plan has the form of a rectangle, 
including a five aisled nave and single transverse aisle with 
the seme width as the middle aisle, with rows of chapels betw- 
een the buttresses drawn inward along both longer sides and at 
the altar end. By the strong elevation of the side aisles, t 
the interior makes the impression of a hall church. All rooms 
have cross vaults with the exception of the crossing, that is 
covered by a domical vault instead of the cimborio, that fell 
in 1518. ‘The towaxr in its lower portions belonged to the mos- 
gue, the famous Giralda, the emblem of Seville, and serves as 
the bell tower. Of the hall type native in the north is the 
church at Medina del Campo, and of the hall churchss, the non- 
astery church of S. Juan de los Reyes in foledo (after 1477), 
treateé in the most luxuriant Plateresco, are to be mentioned, 
and whose splendid cloister is represented in Fig. 181. 

Even in the 18 th century Gothic architectural works of imp- 
ortance were erected in Spain; the cattedral of Salamanca, be- 
sun in 1512, designed by Anton Egas and Alfonso Rodrisuez, ca- 
thedral architects of Toledo and Seville, and that is a mean 
between those of Toledo and Seville, has a three aisled plan 
with rows of chapels on three sides, and shows a developed but- 
tress system in the structure, and further the cathedral of 5 


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-Dedqobs S16 emtol asibal wevs ,.(@02t asey sdt ak asibal sasi 
(satienaem otis) olvte tastroxel atdt doin yauiass dt 3f ody al 
} sdf bonidaos exe * (LSGI-3CDL) evasmA aati tss7a sdt s9tte, 
££. yftetds erew gaed? soousseteasd astfist! glass sat to amtot 
~ ge1bad tetesm astletl odt vd S28 saseaue7x09 o¢at bsosboutat 
T0aaso9be710 a‘ fosnsuw yd wodeid of S5elfso asw odw .ontvoans® 
to esvisom avotemya yiisait-bsbbs sey stew eids of TT ansdot 
{esstostidous sdf .soasyov sea to aasem yd f1a detbaalisdtsh 
evo1g 619 oft ai tom bib Satantetro oe emiot atoemsaro bas 
“"edt .govisemsds yd betabtenco tud :Letddtst bas sviassia0710 


een search 8 see aotsestgxe to abom gatteetetat as wot [lide ¢, 


j re (S3D .2t9) .misdo kattsaioast 

~ @hd bemoseoss foronow etht Lo tuommqeusn sstu 344 «9bnW * 
-{oQusso4 «ol “ego asblog? 

“Sip. nefowstel) sdt besoitnem sd of ei drow gastixse sdt 24 
‘bas borasa supasnsmod ond af beoaemaco wosexls .sosdoofk to do 
— saaRt08 edt atne291g91 tiodo saodw .(83 e&sq) SSSI at betsorbab 
1 +e eda ud heonsa Lint ei sven odd sitdw .msteya [sidedtso astb 
Peres beqoleveb ed? .s0ns17 nieteen to eavtoatidors dors 
“Yrstasaom basi8 edt at cataes até ebait tas oidtod 
Rte: bibaet qe edt totie S86! 1se¢ edt mi bobavol .sdfatsd 


bak veers non ate edt tevo sesuautasg edt to 


481 
Segovia, erected after 1522 én noble and still pure late Goth- 
ic forms, as well as the cathedral of Granada, begun in 1523 
by Bnrigue de Esas (a brother of the previously mentioned Ant- 
on Egas), which however only shows the Gothic design in the 
Sround plan, but the structure is entirely arranged in the fo- 
rms of the Renaissance. 

Portugel likewise in the 13 th and 14° th centuries did not 
attain an artistic independence (Pigs. 59). The international 
Gothic imported from France and Spain at first only occasional- 
ly exhibits Moorish tendencies. First about the end of the 
15 th century with the great political rise of the country ap- 
peered an independent and rich art climax, that (efter 1480) 
runs parallel. to the development of the Plateresque style in 
Spain, but in Portugel the Moorish mode of ornamentation beco- 
mes stronger and later (after Vasco di Gama’s return from the 
Hast Indies in the year 1499)., even Indian forms are adopted. 
In the 16 th century with this luxuriant style (arte manuelina) 
after the ¢reat king Emanuel (1495-1521) * are combined the f 
forms of the early Italian Renaissance. These were chiefly i 
introduced into Portuguese art by the Itelian master Andrea 
Sansovino, who was called to bisbon by Rmanuel’s predecessor, 
Johann II. To this were yet added finally numerous motives of 
Netherlandish art by means of sea voyages. The architectural 
and ornamental forms 60 originated did not in the end prove 
progressive and faithful; but considered by themselves, they 


4° still form an interesting mode of expression with a peculiarly 


fascinating charm. (Pigs. 182). 

* Under the wise government of this monarch blossomed the 
*goiden age” for Portugal. , 

As the earliest work is to be mentioned the Cistercian chur- 
ch of Alcobaca, already commenced in bhe Romanesque period and 
dedicated in 1222 (page 59), whose choir represents the Burgsun- 
dian cathedral system, while the nave is influenced by the ch- 
urch architecture of western France. The developed Portusuese= 
Gothic art finds its centre in the grand monastery deségn at 
Batalhea. Founded in the year 1885 after the splendid victory 
of the purtuguese over the Spaniards, which secured their ind- 
ependence, the monastery was intended for the Dominicans and 


- eantouate ipevktnees, belsis sett s Raierse edd. bentupos sexit 
| odts extodo. felisisq svi bas etqsensat .aolats ebte Akid din 
-2e808 Lsaodyloa adtiw ted .aa2iaed astotetet9 to oluse edt 29 
19 ,debapot odd to [eaado dmot sasupa edt dobbs sas aids oF 
oals ,even edt of bedostis bas absosl edt to sail odt ak betos 
-o odd bas .Lisd tetqedo .yiosooto: edt bae istatols tso18 sd 
w OGDD guodA .asla yrstasnom od o¢ Rataaoled aharbliud asd¢ 
-5d to sisupe biids s £GL at bas ,i1stetolo baoosa 5s babba eaw 
~sfiat datigna tedt Ivicdvoh emesa tI .astetofo s dtiw egarb{t 
& ylisoiteisrzs od? , .asia gdt tug aniyel ot betudintaco asons 
ealleges” edt si oxusdostidors edd to woistoa yisatoxaton saom 
tayasdneo dt Gl edt to 3afaatked odt 19336 bebbs .“assislasami 
. dgemk 6 ,eixe olbbim adi ao doisdo sdt to seq at9ses9 sds ts 
- bivon .betelqnoo si9w si Th Sedt, .Batdblind [ertaes Lanoastoo 
edt aebieed, .erssourte Isitaso otdt09 suadtoqui ga0m 343 ax0t 
beasotaxe eiaed giota aswol sd? .eeveriT ts doasdo aayaridetd 
14 bebastus sew (202 r0sts) yrose teqag ad? .atiewd daifaad 
q gaed a\legui104% to toetidows Jas3ea7g odd .odlitetd 96 osob 
«MI0t elyge beatdmoo ylistionst tsd¢ ai ywode at a1 »boiisa*; 
~dw at .ataomelo sonseaisaes bas asibal ,daiaooM .oidtoD wort 
beqoloveb od? ..sousaimobe1q boatscts ylisubex& assist. sdt dot 
viisottettetostsdo seom at yausase dt SL odt to silyte [sunaul 
& .a¢8) temod? gs tatudd Yo atdaiaN edt to aiodo odd vd gwode 
.(@06I sedis) meled te dowdo yredvessom aanimisdo odd bas (St 
~s190eb yidott evods atinav den dtiw aatesb Lisd dSasoitingsem «6 
~qsime sid esil dowdo eds evodA .(S8L, .af¥) axsta rebasle bed 
~ftom Lsaqtoataq e2odw .S8S .8f% aft besaeegeraes 1zaterolo gaiid 
~ibeecose edt to aetase mot adt of agoled yOse1ls a19vewod asy 
-boiis@ an 


“fui to equon® petite Bas enateed yistesnow .a 
-esarbl 
-oua add to ozodt bas istevsdeie to 16620 oat ylqseb tavowol 
~fove edt at beatsonoo S%9W ensoinimoG bas ensoefonst® aatdbeso 
odd BBW . das78 asvnwod oats bas .ofdtod edé to bsetaqg bas aotta 
‘9 to dottosxe oda af medt wi bsqoleveb ysivisos [siuso5sidoas 
| sa elisttastedve om beowboxtat vsdd .estresesuom fas esdotds 
 ebrewaedts | ‘eovisameds getietasnon edt Yo agieeb sdt at aaabt 
: “tox a I{s8 .2 to viesaanon edt » emadoe edt .o10ted a8 


“> 
St oi 


1382 
first acquired the church, a three aisled basilican structure 
with high side aisles, transepts and five parallel choirs aft- 
er the style of Gistercian designs, but with polygonal apses. 
Fo this were added the Square tomb chapel ef the founder, er- 
ected in the line of the facade and attached to the nave, also 
the great cloister and the refectory, chapter hall, and the o- 
ther buildings belonging to the monastery plan. About 1450 w 
was added a second cloister, and in 1551 a third square of bu- 
ildings with a cloister. It seems doubtful thet English influ- 
ences contributed to laying out the plan, The artistically m 
most noteworthy portion of the architecture is the “capelles 
imparfeitas”, added after the besinnings of the 15 th centuryAt 
at the eastern part of the church on its middle axis, a great 
octagonal central building, that if it were completed, would 
form the most important Gothic central structure, besides the 
biebfrauen church at Treves. The lower story bears expressed 
English traits. The upper story (after 1491) was extended by 
Joao de Gistilho, the greatest architect of Portusgal’s best p 


period. It is showy in that fancifuily combined style form, 


frog Gothic, Moorish, Indian and Renaissance elements, in wh- 
ich the latter Sradually attained predominance. The developed 
Emanuel style of the 16 th century is most characteristically 
shown by the choir of the Knights of Shrist at Thomar (Pig. 1 
184) and the charming monastery church at Belem (efter 1500), 
a magnificent hall design with net vaults above richly decora- 
ted slender piers (fig. 185). Above the church lies the enrap- 
turing cloister represented in Fig. 686, whose principal moti- 
ves however already belong to the form series of the succeedi- 
ng period. 


B. Monastery Designs and allied Groups of Bui- 
ldings. 

However deeply the Order of Cistercians and those of the suc- 
ceeding Franciscans and Dominicans were concerned in the evol- 
ution and spread of the Gothic, and also howxver Ssreat was the 
acchitectural activity developed by them in the erection of ¢ 
churches and monasteries, they introduced no substantially new 
ideas in the design of the monasteries themselves; afterwards 
as before, the scheme of the monastery of S. Gall remained de- 


covaditaness vats bth aous behol Ten. ababblind noo to betray yfis 
-19soolss ows. bebivesg eeattemoe exnala rettsd .tenasm 16 fqmbe. 
sevodynistusor sit .Tedntw 10% ted¢o edt .Tsmuse tot 900° ast 
~ud) {attuos Sismea es 2a bessort yltaeugett agw (88 88 .ant¥) 
saods of asltwie ewobaiw ods nt egaitatsq ceeie déiw .anrdLt 
~aqs yitsues y1otimiob mommoo edt to bsetenT .astetols ent to 
oo) ) eesedmem (sybivibai edd tot tliwd alls aatvit edt bores 

@ ai wet sowtonize Io aasot’ evieastxe yrsv yltusseett oF 
8 easiotetet® edt to etebh19 see1xk odd to stusaelsioa sd¢ omit 
«(ho mottosse sit at -293sse0 diiw bebiverg .eoattoibens® bas 
| “tedostedo aieds .easioretaid edt 10% n9ve esdoisds vistesaom 
| oe eid o¢ beknsdo esw mobiee so nafq to m0 oftat 
_ -*planottsbuso? astotosat® tse1h Yo eelansxe saootitassé .tasm 
=t9@ bas nao1d{vel te bavot sie boises ofdeod eds ok batelaqmos 
yah (86 106) aeden) aoordiveli ts vodds od? sider? wi nvanadas 
aatesb doit ett to tavooo8 no dtaow Leotkoloosdoxs euotas to 
edt to enott10g tastdoumt teow sdF .nottevsessig sielamoo bas 
edt dgeotd?  .botxeq suonensmo% oft of gaofed Llize abarblind 
-3r4 at aslaq bagoth oft to (82E oben o92 iseibsrag) s dos0a 
.(STLt beteoibeb) dowsdo belsts serdt ods e1930e ono BEA 
wot 8 dtiw bas eeqs tuodtiw afodo aslwzastoss 3 at eetsateiet 
é ~aaifies {staostiod s yd betevoo vifsuisixvo esw ,aleasdo to 
to megeye ode vo .BSOE at eativayv goa dsiw bedetnavt ssw dod 
~vetsqedo yd: bobastxe esw even sdt .boowbotdai asdt asaesidtas 
LOSI af bowolfot ears gniblied sesdt s)67%4 jsbhte dtaoe sad no 
+bbstsq) dor0q edt bas, 2 yrotoster yal eds .i Lisd [ioavoo odd 
| etotoster! Tedsom eid sited caw S8St gwods .(e2St suode) s (eA 
efit sbteed antbnetxe setetols ods to autw djvoe edt oafs bas d 
~dosid odd yal eotrotoeter owt odd ceowsed  .(Ob .2f8) .dowsdo 
te dqoeneis edt sbived betosie .= segod aetqado edd teed ae 
» betevoo .(avisoss{aee) {isd nottseasvnoo edt bel .dowsdo ond 
ai betoste asw ssdt .o eewort e'todds edt of atiusv tem dois vd 
-{tud edt to duiw off .(BIGI-SLSI) sotsoutten0s ashoow anoxde 
_ sepsoistotg edd ei t yrsileo belets ows set a yd batoned aatb 
. ~{o yenat aids ebiets® Vl .ar8 af beoubonqe. secon arstav0t 
~st8a9° ek yistssaom suite sa?  .ciathlivd mist sat sil aaness 
is ‘etc fredtiea aT) .efisw tetvo baoise ed beso lore? 


—s es 
U ‘ 


Ya 


133 
determinative (see volume 1, page 182), even if also occasion- 
ally varied or new buildings were based upon it in a richer or 
simpler manner. barger plans sometimes provided two refector- 
ies, one for summer, the other for winter. The fountain house 
(Pigs. 186, 187) was frequently treated as a small central bu- 
ilding, with slass paintings in the windows similar to those 
/49 of the cloister. Instead of the common dormitory usually app- 
cared the living @ells built for the individual members. 

Fo freavently very extensive Sroups of structures srew in t 
time the settlements of the sreat Orders of the Gistercians a 
and Benedictines, provided with estates. In the erection of 
monastery churches even for the Gistercians, their character- 
istic form of plan not seldom was changed to the usuallarrange- 
ment. Magnificent examples of great Cistercian foundations ¢ 
completed in the Gothic period are found at Maulbronn and Beb- 
enhausen in Swabia. The abbey at Maulbronn (pages 311 38) is 
of unigue archaeological worth on account of its rich design 
and complete preservation. The most important portions of the 
buildings still belong to the Romanesque period. Through the 
porch a (paradise; see page 149) of the ground plan in Fis. 
986 one enters the three aisled church (dedicated 1178). It 
terminates in a rectangular choir without apse and with a row 
of chapels, was originally covered by a horizontal ceiling, b 
but was furnished with net vaults in 1424. By the system of 
buttresses then introduced, the nave was extended by chapels 
on the south side. After these buildings eras followed in 1201 
the council hall i, the lay refectory ¢ and the porch (paradi- 
se) a (about 1215). About 1225 was built the monks? refectory 
h and also the south wing of the cloister extending beside the 
church. (fig. 40). Between the two refectories lay the kitch- 
en. Fast the chapter house m, erected beside the transept of 
the chureh, led the convessation hall (pariatorium), covered 
by rich net vaults to the abbot’s house o, that was erected in 
strong wooden construction (1512-1518). The wing of the buil- 
Ging denoted by k is a two aisled cellar; f is the picturesaue 
fountain house reproduced in Fis. 187. Outside this inner cl- 
ausure lie the farm buildings. The entire monastery is entir- 

/*$Cely enclosed by strong outer walls. In northern Germany the 


s ; os T 9 it 4 ut 
; i ; fa ae i? 


Toure eae akadsd te eyedda 
oD sited ts aetietasson bbe ants oa? §.ofdto? dotad 
arog 8 ieq Ofdto® edt mi boaxe{ae suow blelasifid ous {s 
pk Sse dunt isgoH bus woudasblod ts syedds asioxstaiD astesdod 
" -9t00% ts. evyedds odd exedto Snows sonenW al .afind s1sq Teexe 
 agebtseso teoldon ont oF anolsd amacais® bas sbtorisa0% wen 
 =—go% {few bas bes esol yiotbaelaqe sdd satwexit .otdto® viase Yo 
-Ybasmro at. lodotM~saisa-taoN to soswelates satvotbsas@ bertiz 

- iwidtiet beatsme: [e19ne2 uf ensoigimol bas easoeionsa® saF 
 sbOnssenod .Bredencge0f of) wads yd sddusd veioifamie sid ot 
-19d9 sted? .(enx0lo2 bus sovta¥ \suydesis2 jefaed .osaurleed 
siom dsduenoe .egaifteo [etaosivod bad swis gaol & vot agie 
vosetls asrsteiolo seody ,zatteoh asteudiis® si¢ 918 sviaestaxe 
~ai msteye [leo odd oF eoneteled diiw enctausmib ts012 bomuace 
e109) wom) ,R1sdwo ts of yretesaom asteuddra)) medd yd baouboud 
viseluottisq 10 bebavot stew satistacnom oid asd® .faseegN a6 


 sefota betentatiro oats st9dd .esoatag ariinddaten yd betovates, | 


-enle:odt ts slgusxe 10% es .anviseroveb bibusige avin eagiasd 
asotnimed:6d3 baa (86E sasq) sived r894 s20d199 beacituen vhs 
| w wits | »(Sdt she@) .sdisssh te vassasqoa 
pea Sse7k odd 18950 sommeo tadsaiut sien evotsiolo stisusqa? 
p08 at onfs bas (ODL saca) ateas at aqotigid to astiowdo {sats 
asdie9 .yrsdaiieG at axrsdto 300m (ytwseeo as GL sat {ita baal 
fovig ef astisl sit Yo eesador1 edd to wetv s syedasovelP bas 
~229 gino s1ew yeds yosmi9) bas vies ,sons7G aI = .S8@t . os Reak 
-ita edP® .buswn0 botteq oidtod deidsedt sort sitod ylisaottas 


bas’ tioind .bredebaeM .sosd at aretetoio (subsites xaiteixe If 


* .s918 Yo wiotetd edt ai atascmsnow ydsaoredon cis 81gdena208 
~tdows sosisq bas yietesnom n90used setdizog stsibsriesat aA 
~daiad to etebs0 asmre8 ed¢ to ssiteso sdg yd aoist ai suatoat 

oI .&teasG is90 atedestxeh od¢vatwelagmexe sesntt ated? ed 
~ivdst asw yiudneo dé Sf oft at bas O882 ase odd ai auaed asw 
See nem: haere edt to tsa eig aetis ,bebastae yfisistetsm bas tl 

aetudomase tustettib ed? (90S) ersds besistaasad aeod bsd 
oe teria ae ,zadeioLo vrote. owd asivhassoos ods bagots dbsasork sts 
: a edt as sith 2 to dousdo eds aeit ebhfe saedt1oq 9a 


re 


Adle bue asdsiet redaia eda Yo ebatl Lond edd yd gate 


} eottods tmiob edd yd betquooo at aaiw tese oaf . {fed 


1384: 

abbeys at behnin and Chorin also received structures in noble 
prick Gothic. The Austrian monasteries at Heilisenkreuz, Zwe- 
tl and bilienfeld were enlarged in the Gothic period, and the 
Bohemian Cistercian abbeys at Goldenkron and Hohenfurt were in 
great part built. In France among others the abbeys at Fonte- 
nay, Fontfroide and Ourscamp belong to the noblest creations 
of early Gothic, likewise the splendidly located and well for- 
tified Benedictine settlement of Mont-Saint-Michel in Normandy. 

Fhe Pranciscans and Dominicans in generel remained faithful 
to the simplicity taught by them (in Regensburg, Constance, 
Esslingen, Basle, Strasburg, Erfurt and Gologne). Their chur- 
ches for a long time had horizontal ceilings. Somewhat more 
expressive are the Garthusian designs, whose cloisters already 
assumed great dimensions with reference to the cell system in- 
troduced by bheg (Carthusian monastery in Nuremberg, now 6ern- 
an Museum). When the monasteries were founded or particularly 


yy favored by neighboring princes, there a&so originated richer 


designs with splendid decorations, as for example at the alre- 
ady mentioned Certosa near Pavia (page 132) and the Dominican 
monastery at Batalha. (Page 147). 

Separate cloisters were further common near the great prin- 
cipal churches of bishops in Spain (page 140) and also in Eng- 
land till the 15 th century, among others in Salisbury, Durham 
and Gloucester; a view of the richness of the latter is given 
in Fig. 188. In France, Italy and Germany they were only exe- 
eptionally built from the high Gothic period onward. The sti- 
11 existing cathedral cloisters in baon, Magdeburg, Erfurt and 
Regensburg are noteworthy monuments in the history of art. 

An intermediate position between monastery and palace archi- 
tecture is taken by the castles of the German Orders of knigh- 
ts. Their finest examplesisrthe Marienbers near Danzis. It 
was begun in the year 1280 and in the 14 th century was rebui- 
1t and materially enlarged, efter the seat of the srand master 
had been transferred there (1309). The different structures 
are grouped around the rectangular two story cloister, on who- 
se northern side lies the church of S. Maria as the chapter h 
hall. The east wing is occupied by the dormitories, the west 
wins by the dwellings of the higher knights, and on the south 


el 
oa | Ys 
’ 

he: 


part 
‘i cll 

5 » ~ | 
es 


| tieda acatienk: ebia 
, CO SCM i dhe ilaivane: ode Rib I BSEE bas T8EL nee 

sa sds 38 at -teddawh bevomer ased badisiteso 19300 sd x9dte 6) 
| gixsfeoterss aevisameds bavoig bed odw .sabx0 edt to soraado 
.ativey asta bas ns to aottoursas0o edt at atstasm Jaas9qmo9 
| bas detsd gem1e8 aiedtzoa Io estot efe &nome beovbertak bas 
dees: at ¢us aewro0l odd wort esvisom yasu oideod datwedS 
ylao gou drow tasntaoxg yiisoi¢atsxe as S90uh01q weds of AN 
~19dn8) 004 at oels ted .(83f .269%) sxetoesidors- Leniesai edt nt 
st -e9osit08 [Lew od¢ to aotvamtas bas aoieivibdea Lan 
~SShEfh ai bstoere. .siwatiod af atsteiasd to sitaso. sdt as0n8n 
*‘gottentdmos 6 ef .VI eolasdd asbay esttd to safdtsaM va SBE! 
“790 8 es ovie2 teom ¢1 iexstootidere yissesaow bas sitaso to 
“of of¢ sot yisesess sas .astasio atatas{le> 6 to tsee d¢aacem 
# aot eoncbies1 6 es s1sq ni teesi ts Sas ,extame edt to alew 
ag Sf edd at betsatkixo sonex4% al . .vatnvos eds to seontra adit 
: ea rgnshtgmaragile ta aeqol edt te si¢eso vietsse adt yautaao 
-,ee0sisq ‘egodeid sds ovew tasbom s10M .aeecqisg talimie: 10% 
6a) basigal: bas sonexd at seixe extenst sfisredtaaoo dokdw:to 

“dw ,esiataneo. ntedtuoe ods at bas (effe®, ,eauodisi .ansR wo | 
en . -atneugnow etalqmoo yittsa Liite sia dot 

»dnthLene divin betosmaeo evyewis 948 sistiueod edt eatwovid 

-ud ylteos e1sw youd enoassa vistiese 108 evetvies saivid tot 
‘sot base .aetsio to atiidetve od? so ameerte Rutwost 1590 sit 
#8. .nela seteatolo ofd asdtie batosfoe gaew enaia basoue saisdd 


nt bsbasot ,eifesol edt no e009 ts Lettqeod oft ts ofamaxe tot 


.tete\ edt sot Ifed bas Leqsdo io aoivantdmon too1rh 5 xo ,Odat 
6 .SYSi at bebawot .doodSd ts Istiazod seiekneaiiieH odt eitt 
ergtours a febom tsex1k sift .M-e-trotdnaa8 ga istiasod od¢ bas 
‘wots tensas edt a0 ebaate yoseils (or0fbael olsdbeqeO) asiih ge 

: a | -80asaeienef asiistl- eds o¢ ogsete 


 s1ysoad tdowA aslno0e82 sidtod 0 
) ei¢ mi 1998 916W abesb deetse& edd asin boireq s al 
: oot ki yeluove .asveed ehiswos aatziaas. alsibsdteo to ao 
7 Ai oy t, 


ae ataw ¢ ox soitostreg to saste dard ond ot seiz Jou Sisco 
doesidors releoe8 « gals soY .be 2 Bsd eiudossidois 
odd .asonie e623 to sotdsqtoisa sq antassiont edd 


ae is ow Leees ‘anttiopoe eassitio edt v0 wtiltdod albbiw ye 


» 
ie’ G 
/% ¥ 
es && 


135 
side are found the living hall and the great refectory. Betw- 
een 1357 and 1382 was erected the castle of the Srand master, 
after the outer castle had been removed further. In it the me- 
chanics of the Order, who had proved themselves particularly 
competent masters in the construction of fan and star vaults, 
and introduced among the forms of northern German brick and 
Rhenish Gothic many motives from the Norman art in Sicily kno- 
wn to them, produced an artistically prominent work, not only 
in the internal architecture (Fis. 189), but also in the exter- 
nal: subdivision and animation of the wall surfaces. In like 
manner the castle of Carlstein in Bohemia, erected in 1348- 
1365 by Matthias of Arras under Charles IV, is a combination 
of castle and monastery architecture. It must serve as a per- 
manent seat of a collegiate chapter, as a treasury for the je- 
wels of the empire, and at least in part as a residence for t 


the princes of the country. In France originated in the 14 th 


century the stately castle of the Popes at Avignon, intended 
for similar purposes. More modest were the bishops’? palaces, 
of which considerable remains exist in France and England, (ba- 
on, Sens, Narbonne, Wells) and in the southern countries, wh- 
ich are still partly complete monuments. 

bikewise the hospitals are always connected with buildings 
for divine service. For sanitary reasons they were mostly bu- 
ilt near flowing streams on the cutskirts of cities, and for 
their ground plans were selected either the cloister plan, as 


je) for exemple at the hospital at Cues on the Moselle, founded in 


1450, or a direct combination of chapel and hall for the sick, 
like the Heiligengeist hospital at Lbibeck, founded in 1276, a 
and the hospital at Prankfort-a-M. fhe sreat model structure 
at Milan (Ospedale Magsiore) already stands on the transition 
stage to the Italian Renaissance. 


©. Gothic Secular Architecture. 

In a period when the greatest deeds were seen in the erecti- 
on of cathedrals aspiring towards heaven, secular architecture 
could not rise to the high stage of perfection, to which church 
architecture had soared. Yet also secular architecture, vnder 
the increasing participation of the princes, the higher and m 
middle nobility, of the citizens acquiring Sreat wealth, as w 


a Om ‘oe 


pbboana sds edd .s00% oat wd berovel cow .2n0itsiooass 
. tbr traces ot ,semysi to ebnasd sdt otat basasa bad tas edt 
_ssonahion tomas os a brs men hanes ié .ettow vdsaowston 
hus De 4 O18 
ies tinre aeluoos of List emefdora sastroamt seom od? 
s9oneiiess edgy 28 290alsa bas atiot .asitasn to nottos1s sat 
“Ist yods slut s a4 -ytifitdonm sdt Io bas asontag 3aingier Yo 
bas dtkasate of betoe1i) (fs to serft Rated ,ezoqwd edt tool 
o yods bos .eisw yd besostis botred « at saae'tesh tot eiosaqes 
(EL yods it seve .ceexttol s to tet9s1ado sdd omsaas viisido 
-39i etigp terti te et as{q ed? .aertto peftitsiot Liew atdtin 
hasivhastost eds sotantxotags yiisiensa th rxetel tud sl pre 
/ mort tuod4 .aefkas ddd ts at9wot sviensteb anorwte dtiw aot 
~seoasbiass yisoataa sd3 biswso vastness do AL edt to slobim ead 


"esosisio sssnai ylawoitvero atedt saol yilesbartg saeltass bas. 


“-fesoront of .ytetsa bas sanstes tot yleviasioxs eanibliud to 


Sheer 20b etuewertivpe: ods of betoveb aotsaeste at otaasem Ba 


~e008ifo,emo0or bas alfed dbgo1g adt to saamtsersd ad¢ nor% . 9908 
yiteow snow efisw od? .saetasvis ¢serk eveisbh atis yoOHsim obde 


i e1itas sit bebastxe aomttomee tedt° .gatlseasa déitw dodatatet » | 


w yaeosms barid bas ebasd détw saomteaets atedd at bas .tdated 


qoaim sd¢ o¢ botistensyt anvot {eastostidots sd¢ bstssqs1 stew | 


-ta9 titel asw vtoxemst? odt eanities edz aD .f2@t .3i8) .eate 
wiletosase .kotleasa ddiw bodatnist ase tt to ,eidistv ylevri 
“skatiies sd¢ atasmtusgs aeatal edt al .emoor isiiema oda ni 
dott e« déiw saote at betuosxs .stlosy as betsert rsitis Stow 
ayfiasa eao1d Satved akailies asboow dtiw .adia to taasekasa18 
Se ears. vitwoda y1sv stew dotdn .ansed a0: 10 
ae ec aes ee - bas Land 
 - b ode Ageaiuceex xew estwil taobom otom ylisisnsaes aidsi¥ 
| ~en09 ai .eaeststo ob ot (Low bas anstotatsa sat to aaailflowd 


1 df dofdw mort .eu of bentsmed sved avaomuaom seeds 


rk aoa bad ‘Yo etrsit Leased) atstiso eovfoamedt 


7 a . bas ‘astsio oat as. ce 


‘ soon s19w esevod edt doftdw ot .Saiblindes bewsidaoo to sogsupe. 
, edt Yo tuo gatvel aaeleaso yitnoussrt edd bas .basostdse wl 
#0: etazoa {isa yvlovits{e1 s sud .asidio avebow to atecita 


-eaosigto bas adnadousm betewste [lew odd ovis te 


136 
well as the cities and within them the secular assemblies and 
associations, was favored by the fact, that the practice of t 
the art had passed into the hands of laymen, to record very 
noteworthy works, an part grand and equal to church architect- 
ure. { 

The most important problems fell to secular architecture in 
the erection of castles, forts and pelaces as the residences 
of reigning princes and of the nobility. As a rule they ref- 
lect the purpose, being first of all directed to strength and 
capacity for defense in a period affected by wars, and they c 
chiefly assume the character of a fortress, even if they lie 
within well fortified cities. The plan is at first quite irr- 
eSular, but later it generally approximates the rectansular f 
form with strong defensive towers at the angles. About from 
the middle of the 14 th century onward the princely residences 
and castles sradually lose their previously innate character 
of buildings exclusively for defense and sefety. In increasi- 
ng measure is attention devoted to the requirements for resid- 
énce. From the treatment of the proud halls and roonms,othéoGe- 
thic minor arts der¥ve great advantage. The walls were mostly 
. furnished with paneling, that sometimes extended the entire bh 
height, and in their treatment with bands and blind tracery w 
were repeated the architectural forms transferred to the minor 
arts. (Fig. 191). On the ceilings the framework was left ent- 
ively visible, or it was furnished with paneling, especially 
in the smaller rooms. In the larger aparbments the ceilings 
were cither treated as vaults, executed in stone with 9 rich 
arrangement of ribs, with wooden ceilings having cross strips 
or on beams, which were very showily treated,sparticularly in 
Hngland. 

Within essentially more modest limits were restricted the d 
dwellings of the patricians and well to do citizens. In cons- 
equence of continued rebuilding, to which the houses were most- 
ly subjected, and the frequently careless laying out of the 
streets of modern cities, but a relatively small: portion of t 
these monuments have remained to us, from which it results th- 
at also the well situated merchants and citizens adopted for 
themselves certain basal traits of the dwellings of the nobles, 


ser 
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ne ri sca atedt aft @8 {fon as somsisedas fsaisdxs afsdé 
.onem 
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ao duomaiups sd? .vausneo dt Sf sdt to aninatsed sd¢ ts neats 


-d18 9kd¢o8 Yo elowet eotods stasaerq yltaeupert softredxe odds), 


asqo ytode bawe7g eft ut aistuos wod¢ sfar « aA =. (ret .8r9) 
Yrote T9qqG ead afk .eeeo0iwg slitnastem bas yidmecas a90t alisd 

to esoitto edd détw fisd Ltonvoo 10 *eanevitio tsaxe sds gated 
gateogakr yltmauoext bas visiste s of ostvied -Saemqtevog sdJ 
gemdotsew eit io soivwiee edt st0t hbosifit¢e asw iaw0os sit .sdSred 
“sii di jeaesttto ois yd ebizg aslwotsisq dtiw bobisgeq eaw Sas 
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atnemnnom es dvod .(8@r .869) aeatod. etatoor bas b{ivs .eebas 
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astée vletste sat -eoisupe mego on bas ayelis woiten odé .ase 
bas seasteb 10% bobastat aottovitesoo bas akiesb sav doidw ao 
eat dain aottentdmos at .beyolams stew Taemsnx0 citaisaa oels 

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F209 tee8 sda bisots ailsad esottos1q 


3H eeidterevine edt sass 1oquit asigoid@asa of beatadts asoas .) 


137 
and also did not like to reject a certain richness, both in t 
their external appearance as well as in their internal equip- 
ment. 

In great number appear the city halls as splendid and ver 
impressive evidences of the flovrishing and increasing streng- 
th of the citizen class in the middle ages. On them is corre- 
ctly shown to what a height secular architecture had already 
risen at the beginning of the 15 th century. The equipment on 

/sethe exterior frequently presents choice jewels of Gothic art. 
(Pig. 191). As a rule theg contain in the ground story open 
halls for assembly and mercantile purposes, in the upper story 
being the great citizens’ or council hall with the offices of 
the sgovernment. Garried to a stately and frequently imposing 
height, the tower was utilized for the service of the watchmen 
and was regarded with particuler pride by the citizens; it fre- 
guently formed the characteristic of their city. dust as int- | 
eresting are the city porticos, the mints, buildings for weigh- 
ing and measuring, the great merchants’ shops, sranaries, exeh- 
anges, suild and society hebses (Fis, 192), both as monuments 
in the history of civilization, as a measure of what the diff- 
erent cities,and within them the associations of citizens, req- 
uired as suitable representations of themselves and of their 
dignity. Another productive field was found by civie archits 
ecture in the fortification of the cities. These could be de- 
fended the more easily, the smaller their extent, or the shor- 
ter the enclosing walls; therefore the great height of the hou- 
ses, the narrow alleys and no open squares. The stately gates 
on which the design and construction intended for defense and 
also artistic ornament were employed, in combination with the 
bridges on wide arches and pootected by towers chiefly produce 
the charming and picturesque architectural views of the mediae- 
val cities. Finally reference should also be made here to the 
buildings for colleges, which with the advancement in the sci- 

/SLences attained to particular importance. The universities we- 
re chiefly derived from the ecclesiastical colleges. The gro- 
up of buildings erected for them as a rule followed the monas- 
tery plan, which favored a suitable Ssrouping of lecture and p 
practice halis around the great court. 


" 


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‘taobter0080 obaz02 Yo asseia prise las ‘ed¢ of ahaoled \asqa 


138 

As in church architecture, so appear elso in secular archit- 
ecture, in respect to the number, kind, plan and construction 
oi architectural works, many peculiarities , and they charact- 
erize the different architectural domains. 

In France the most important secular buildings are the cast- 
les, mostly destroyed. Representative here was the old Louvre, 
which must later yield to the new building by Francis I. Jud- 
sing from ancient miniatures, it was a structure enclosed by 
strong external walls well defended by towers, symmetrically 
arranged on an octagonal plan with round angle towers and two. 
round towers projecting from the facade at both sides of the 
middle elevated window. The few still partially remaining woa- 


“uments, such as the royal castle at Tarascon, the castles at 


Poitiers and pierrefonds, and the wins of the castle at Blois 
named after bouis XII and richly equipped in the interior (Pig. 
193), exhibit a far more refined treatment than the contempor- 
ary works in Germany. The French castles of the nobles mostly 
preferred a massive donjon (keep) with strong angle towers({pa- 
ge 67), that was ever more broadly and freely developed, until 
it was transformed into a court enclosed by internal arcades 
and surrounded by four wings, which was entered through a vaul- 
ted sateway; above this Ssenerally was the chapel. Of the city 
halls is to be mentioned that at Compeigne with high tower (b 
(belfry) and graceful angle turrets, to whose type adheres the 
late Gothic palace of justice in Rouen.(Pis. 194). Likewise 


/eythe palace of justice at Paris merits consideration, es well 


ae ee 


as the house of the Abbot of Cluny there, distinguished by an 
elegant facade. Of the often richly treated private houses, 
the house of Jacques Coeur in Bourges is a charming example. 

In England the castles and the old English noblemen’s seats. 
present en interesting and unified representation of the style, 
among them being prominent those of Westminster, Bampton Court, 
(Fig. 195), Bltham and Warwick. They preferred the court plan 
with freguently a very extended development of the facade; and 
the principal attention was always devoted to the great hall, 
often extending to the roof and particularly imposing in inter- 
nal and ornamental respects, over which the richly carved wood- 
en ceiling, senerally treated with hammer-beam trusses of bold 
span, belongs to the splendid pieces of Gothic decoration. (F 


2 evous' t biiow edt o3 bertelor ‘voneris oved of . (fat 32a) 

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a oft To endriesd odg eotemtxo1gge dotdw .,yauiaso dz }f edt at: 


_* 


139 
(Bis. 141). We have already referred to the world famous col- 
leges (page 115). The entire secular architecture of Engiand 
bears an entirely native and distinguished stamp by the prefe- 
rence for straight lines and a decided accenting of the verti- 
calism, the windows terminating in lancet, depressed,and later 
in Tudor arches with mullions like stone tracery, the crowning 
battlements, charming bay windows, and the splendid forms of 
Sateways, by the broad and spacious halls in the interiors wi- 
/oeth banded architecture in the wall panelings, the much suddiv- 
ded vaults or the rich wooden ceilings. 

In Germany the Albrechtsburg in Meissen, enthroned in a nob- 
le location above the Zlbe and protected by massive towers, er- 
ected in 1471-1485 by master Arnold of Westphalia,is indeed t 
the best example of the late mediaeval German princes’ seats, 
already tending to a more regular and spacious design. The k 
keep is accessible by a very picturesque stairwey tower and is 
furnished with abundant light by windows ending in shouldered 
arches. Its rooms were covered by high cellular vaults of sta- 
lactite fors. (Page 87). 

In Hungary the Alt-Sohler castle, built on a hill as a defi- 
ant fortress about 1350 is yet in good Condition, and also in 
Switzerland castle Stuffis (canton Freiberg), likewise built 
in the 14 th century, which approximates the designs of the k 
keeps of the French models. 

Middle Germany has important works of castie architecture to 
show in the fortress of Coburg, rebuilt after the fire of 1500, 
whose princely structure is adorned by magnificent decorations 
in wood, and in the castle at Marburg, that still contains its 
stately knights’ hall, and the castle Stolzenfels in the Rhine 
province, dating even from the 13 th century, and restored in 
the 19 th century. Besides numerous castles remain from the 
Gothic period in Germany and Austria, even if in great part 
only in ruins, in largest numbers in the Rhine provinces, the. 
fyrol and in Bohemia. 

fo the noblest creations of German secular architecture also 
belons the city halls. A very impressive monument of this ki- 
nd stands in a corner of the market place at Brunswick with t 
two wings at right angles to each other, which open toward the 

/y) marketplace with pointed arcades in the lower story, and in t 


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NE ae 4 é 
Rar 1249) yO! ae 


-) af Isisawoq ,90iasV dtiw angiteloy ebais avoromua adt yd .oft0)\ 


aks09. “paosui elbbin {ie bus yasmied ils ‘tot fexsa98 ak auf 


149 

the upper with rich trecery windous chowned by tracery sabtes. 
Of the old city hall at Nuremburs the sreat hall still exists. 
in Prankfort-a-M. the ROmer was erected after 1405 with a sre- 
at imperialihall, whose ceiling dates from the year 1612. The 
city halls at Breslau, Prague, Wim, Basle and Gologne are wor- 
ks of the late Gothic period. in contrast to these cut stone 
buildings, the northern brick Gothic is represented by the ci- 
ty halls in Lébeck, Brandenburg, Tangermtnde, KOnissburg-I. N. 
(Pig. 196), Bremen, Hanover and Stralsund. The latter mostly 
have architectural portions from the most different building 
periods. Their external architecture lays chief stress on the 
development of richly subdivided gables adorned by slender tu- 
rrets. ven with simpler means and in haif timber construct- 
ion, the city halls in the smaller cities were frequently tre- 
ated in a very pleasing manner. (#isfeld, Duderstadt). 

Notable examples of buildings erected for commercial purpos- 
es are given by the Artushof at Danzig (built 1477-1481), ere- 
cted as an exchange, and the Glirzenich in Cologne (after 1441). 
fine Welsche Hof in Kuttenbers (Bohemis) was begun in the 14 th 
century and is one of the mediaeval mints. Erfurt possesses 
an interesting monument in its old university, dating from the 
beginning of the 16 th century. In the southwest provinces of 
Austria on the great structures intended for commerce and traf- 


/60fie, by the numerous trade relations with Venice, powerful in- 


fluences of Venetian art freouently appeared, for example on 
the corn-measuring house at Bruck on the Mur. hikewise the ¢ 
citizen’s house in cut stone, of the Gothic period frequently 
exhibits a richer treatment in massive stone construction, li- 
ke the Nassauer house at Nurembers end the Krafft house there 
(Fis. 197) of about 1510, the “stone house” at Frankfort.A.M. 
(after 1464), the etzweiler house in Gologne, also belonging 
to the 15 th century, and numerous dwellings in Ma@nster-i-W. 
Brick buildings of this kind are still found in great numbers 
in the Baltic provinces, in Saxony, Hanover and Brunswick. In 
southern germany as well as in the Tyrol and Bohemia, the bay 
windows (termed "little choir” in Nuremberg), form a favorite 
and extremely impressive ornament of the facade. (Pigs. 198).-- 
But in general for all Germany and all middle Burope continues 


. (peciiee bebe te eds to amie! tusisaqe vitstds edt 520 
aot, nocd sda het soof otonw slut s es viote a9owol esi al .(@ef 
de: 19q00 edt af. .(,o%8 eqodadiow .29Bg0der8W .2gods) easntead 
od esos guidtioneg avewilste od? saaifiswb sad gated ease 
~abisass -80itsisbtescos anfassioat noose ea bevotae asiiose odd 
= bessens Gfedto stew gait .etiste Satbatw exew bstovai viasl 
ce oe -19a06m Ofdeidas bas Oetiatae vlisuatoutte 2 
betoox1e aseogied ofldeq tot akaibliad edt eetweiei stadt 
8978 bas yotse [sciadoss data beaiedis afoatidoris Isvestdou 
ai Jnamteert istuomuaom 6 bevisoes yidasupe1) bas .etiiita,, 


; ~rp 


~ 7 


‘aatts tliad -8imedot af siinbush ts okhtad sdie sdt a0 aworde 
| bas -8088%9 wo1t bof{so .coagivA to maifii¥ tetasm a yd SEL 
tolse9 ‘qete9 yd betos19 sped at sabiad efse0 Sasi sd ao 
‘aewos o8biad sostesiA sdt ssiwelil ebusta axe . (OSE 2a69) 
| “aged ,19wot t9bwog dbetso1s ylislimte eit ytintoiv est ai dns 


_ Ruteoant eeedd Io aevitstnsesias: bibnelas exe yads 80h at 
8 ai a1sdaun ¢eo13 yleoweidxe ai ateme1 doidw .si9wod yawetse 
 ,anoises dsiad ast at elisleotsaca .yasm1e9 Lis 

sotd0a atedjvos afedt af ylasivottisa .cbasliedte4 sds al 
fsuos ebaste tsd¢ .taomqoleveb 5 bodose2 oxgstostidors isle998 
edt eed yitawoo zedto on al SigdSedidois, dowde to tedz of 
8 dain oe Savot eeslo aesitio edt to dtkasite bas yi fteceorg 
‘9ds baste inex sexi? odt al .eteds es aoieesiaas [etagmsaon 
lisdwaie ond aaseqas elqmsxe Jastesig afedt eA .ellad ydko 
atin etusovite eteupe s ,SOSE ts9ey odd at hobavot .aloaeuid te 
edd esd dotdw ,fSid .dt 5.856 1ewod go bas .¢% &.8@L to asbis 
~bow edi egw Qatbiigd eid? -ebaslieddek edt ai yriled to oman 
at .O88L-S8E! at betosrs .sbusceba4 ge {isd vtio eda 10% Is 
SRE aeonted isd ytio ons tlivd eaoysd to asiddts¥ aisvucd 
dtiw tod <19wot atem s twodtiw bas enotenemth stsisbom at S3hf 
Bi, stoma Ylesotverg sindeluee bas otsteedidors to eeendoiy s 
: -sbom ai oels vifsd ysio odd Y86l-SVSI ai betsatatio esus8 at 
» weve stedt sowot [led yedbia od? . (008 -Ri4) .enotensaib te 
B rowel eda evods sesia bas (88!) yigtase dz &f edt of akaoled 
‘vise to tdaied nm ot etnomelttad yd berwo1o sastourta 
i dgv0a esodw .t¢aedd ss {fed ysio sdt oals ef bas 
2 v v quoininod yd aused eaw .boixea otdso2 silt wort 


141 
the half timber construction with stories corbelled out, carv- 


ed timbers and purlins, and ornamented window enclosures comp- 
ose the chiefly apparent forms of the citizen’s house. (Bis. 
199). In its lower story es a rule were located the rooms for 
business (shops, warebouses, workshops ete.), in the upper st- 
ories being the dwelling. The stairways permitting access to 
the stories enjoyed a soon increasing consideration. Partifu- 
larly favored were winding stairs, that were often treated in 
a structurally spirited and artistic manner. 

Thatilikewise the buildings for public purposes erected by 
mediaeval architects attained high technical safety and great 


/£ ability, and frequently received a monumental treatment, is 


shown on the plbe bridge at Raudnitz in Bohemia, built after 
1333. by a master William of Avignon, called from France, and 
on the grand Carls bridge in Prague erected by Peter Parler. 
(Page 126). Here stands likewise the Altstadt bridge tower 
and in its vicinity the similarly treated powder tower, besun 
in 1475: they are splendid representatives of these imposing 
gateway towers, which remain in extremely great numbers in a 
all Germany, particularly in its brick regions. | 

Tn the Netherlands, particularly in their southern portion, 
secular architecture reached a development, that stands equal 
to that of church architecture. In no other country has the 
prosperity and strength of the citizen class found so high a 
monumentel expression as there. In the first rank stand the 
city halls. As their greatest example appears the cityyhall 
at Brussels, founded in the year 1402, a souare structure with 
sides of 196.9 ft. and a tower 384.6 ft. bigh, which has the 
name of belfry in the Netheriands. This building was the mod- 
el for the city hall at Audenarde, erected in 1525-1529. In 
Louvain Matthias of Lbayens built the city hall between 1447- 
1468 in moderate dimensions and without a main tower, but with 
@ richness of architecture and sculpture previously unknown. 
In Bruges originated in 1876-13887 the city hall, also in mode- 
st dimensions. (Fig. 200). The mighty hall tower there even 
belongs to the 13 th century (1283), and rises above the lower 
structure crowned by battlements to a height of 352.7 ft. Gr- 
and is also the city hall at Ghent, whose north building dates 
from the Gothic period, was begun by Dominicus von Washemakere 


shr 


Let 


. [vale atebae lt ak aeitio {storemaoo ydtisew ods stuf 


=O Ms 


tee adteg agistot aoxt elqosa aultsteoe edt yd sdQg07d abo 


P ({isd wtio wor) eetqY ts [fed dtofo edt .aeeocmd [store 
. iit V.G88 yatied « baa .t% ¥.5E8 to sbsost to dteasf{ s at 
phe edt o¢ anofed atfdos¥ ts bas afevood ts allsd dtolo sa? 
nit | ."iwsae0 ds €f edd to Med testi ods of tasdD ts jadd bas 
sioog bas biive auorsmun stequeo egathlind aildaq saedt az 
ai to aoeasaiin tasupele es abatiienwh atuestéio asve bus 2ffad 
natoxe azalo aesisto 3nivol~1ebaslae « *9 fidisew bobxuodan sad 
.etton oiteaisis $e9%9 nf Ileets Bat 

Joupdoadtdone qaluoee stdto8 eds to tnemacIeveb sit yiast al 
a vilerenos ei edd ,sonsxseqas beiitny teds Jididys tox asob 
-do8 edg yd betos1s asitaso sAT .astitasoo tedéo at botaeesta4 
fsb. elves oft siqnsxe ict va ,yliot® bas ailwgd ai aasilusseas 
~isetosisdo 6978 siofd ts tedd bas itgh ta oftaso ott buna stack 
t elans ovisess bas allsw lanretxs ystol sieds qi yfterdo bea 
__ -aegestd 10? dustieb es seniltwo [esokylog mort aateta exoKod 
donett oda Yo a8atd ods ret. ¢liwd .ealqse at ovosl alteso ont 
biswos gousbnot A .efsbom donst® o¢ atom baad otk te sesod 
@ ai jnemtecis Isniedxe bae aniquos’ tieds yd supesiwtoia odd 
-a179% bas asl .Sived ts yletl teaqas at esltaso edt vd awode 
-tidors aeingse okdso® Yo siesmob [eqgtogig ed? {20S .2i¥) Va 
~as ‘bas Wiss a9000 bas slbbtw at asif sala edt haoved sxutas 
etedw <1ewog fse12 dvow esitio sasbusaqsbat add ai yltsido 79 
at t9d70 dose déitw eSsqmoo seosisq stsviia bas eseuod usio ead 
“-so0l bed vissaso dt [f edt mort ydsexls ytilidon adP .ytused 
~iliast aatlos edt bas .esttio edz at aaonsbtee1 tetdo ati bad 
| “BID HOG svidios afeds yd If tadt .asdt ylusslo wse ee 
ay  yitrole og isttneeas ean Jt ,duemareyoR odd oF bobo 
Foote, ead 9 3 faosq $d3 Io azsm eff Feivo oF baa dtanss 


nt oh. Pr 
: -aaatbitud ot idua bas asos{sa gaisoqai 
as a 


ee eS ee! ew 


ac 


100L% baao1k edd ao 3nitlewb sdt svad oavod supiinas 
ilies guose tewol siz to elfen ed® .ytose taxi? sag 
gaat te .enobuin Ileana not 8 viao Svi9091 10 Besets 


“tee ee nie) | . 
Ay ed va oe rh Wee at AY ee) ) . = 7 a 


BAe sinse'j dasiaexel ‘ee edt ddiw betelqmoo bas — 


edt tot ‘e9esode1em laste saataoagmi teom ods es bosoexe yi. 


sogaol on asitto odt ai ealdon edt to seosfag of? ©? 


=n009 ‘sot aetusourte beaqiaps ulbibaelas aesto bas saav bitow x: 


‘ 


142 
and completed with the most luxuriant Gothic decoration. 
But the wealthy commercial cities in Flanders also frequent- 
ly erected as the most important staple warehouses for the go- 
cds brought by the seafaring people from foreign parts of the 


2 worid vast and often splendidly equipped structures for comm—- 


ercial purposes. The cloth hall at Ypres (now city hall) wo- 
th a length of facade of 436.7 ft. and a belfry 2209.7 ft. high. 
The cloth halls at Louvain and at Mechlin belong to the 14 th, 
and that et Ghent to the first haif of the 15 th century. Wi- 
th these public buildings compete numerous suild end society 
halls and even citizen’s dwellings as elequent witnesses of t 
the unbounded wealth of a splendorsloving citizen class exert- 
ing itself in great artistic works. 

In Italy the development of the Gothic secular architecture 
does not exhibit that unified appeerance, that is generally p 
presented in other countries. Phe castles erected by the Hoh- 
ensteaufens in Apulia and Sicily, as for example the castle del 
Monte and the castle at Buri and that at Gioia are characteri- 
zea chiefly by their lofty external walls and massive angle t 
towers rising from polygonal outlines as defiant fortresses. 
fhe castle Nuovo in Naples, built for the kings of the French 
house of Anjou, tend more to French models. A tendency toward 
the picturesque by their Srouping and external treatment is s 
shown by the castles in upper Italy at Pavia, Milan and Ferra- 
ra. (Pig. 201). The pincipal domain of Gothic. segular archit- 
ecture beyond the Alps lies in middle and upper Italy, and th- 
ere chiefly in the independent cities woth Sreat power, where 
the city houses and private palaces compete with each other in 
beauty. fhe nobility already from the 11 th century bad loca- 
ted its chief residences in the cities, and the ruling famili- 
es saw clearly then, that if by their active powers they succ- 
eeced to the sovernment, it was essential to glorify their st- 
rength and to quiet the mass of the people by the erection of 


imposing palaces and public buildings. 


The palaces of the nobles in the cities no longer as in the 
antigue house have the dwelling on the sround floor, but in t 
the first story. The walls of the lower story mostly remain 
closed or receive only a few small windows, arranged for defe- 


rie ee ts | ae 
apr i i igjas ta, Bea 
a 882 bas. elstzoq .geoasagae odd qdeneds ssaneteh 
10 “eangteb tot edaomo lesa .soasdzoqul satessront 
aitises bedors aaigosiozg vitdeife oat svods elisw obs. 
| om boow mort bertsieasis ai esitote to yaifledioo yiiers 
teo1 a9 nota seqau edd to aflen edt ted of emote o¢ aottont 
" asoeleq ofuso9 edt soas10[% nT .afedios snota to esdors ao 
yod? -2eenod enote bsiitsiel to aoteesigat edd soubo1q ayswie 
.T1g09 ifene s dgods asiq basors 1sluRastogs bas 1sf{y80e7 ¢ svad 
toss eedois od¢ jeo0ts10G yd aebie orom 19 sao ao bobagotipe 
8 efgaie MO S24 eeisose Isaqu eds to alley yvseed edt siogqase 
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soslag S8igesa act 00 .s¢1H09 sapacistolg ylemsitxs as 2ad bas 
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| =n09 te aLtad ,fzaso1sM “96 siazol sat sagolod aI -ateiq diiw 
-19 tasldon od3 Baome betguos ai .bSEI-SBEI ai oiliseas fsiorem 
wad oidso aeluose af dots ylomexsx .ofdto® aoiad to anoitee 
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a isda ved toa ob soca tsa asiteasY ed? .gofne¥ to ytio {at 
al .900 1 ai as _seottaae, viimst bottiaao¥ to soasiscqas n19 


143 
defense. thereby the entrances, portals and stairs acquired 
increasing importance. Battlements for defense crown the fa- 
cade walls above the slightly projecting arched cornices. Gen- 
erally corbelling of stories is transferred from wooden const- 
ruction to stone, so that the walls of the upper stories rest 
on arches or stone corbels. In Florence the Gothic palaces 
always produce the impression of fortified stone houses. They 
have a regular and rectangular ground plan about a small court, 
surrounded on one or more sides by porticos; the arches that 
support the heavy walls of the upper stories rise on single a 
and mostly octagonal piers with modest foliage capitals. The 
externally dry Bargello or palace del Podesta was begun in 1225, 
and has an extremely picturesque court. On the massiee palace 
Vecchio, rich in historical recollections, erected in 1299-1801 
by the cathedral architect Arnolfo, the seat of the signory, 
i.e. the city government, the fanciful form of the tower is s 
striking. Of the remaining Gothic palaces the palace Quarate- 
si is still entirely preserved. A noble hall structure was e 
erected in the year 13839 as a grain exchange, but was later t 
transformed into the church Or S. Michele. The loggia del Bi- 
gallo (1852-1358); @is. 202) erected on the cathedral square as 
a graceful portico for charitable purposesland the pround log- 
Sia dei Lanzi built by A. Orcagna (1376-1382) beside the pala- 
ce Vecchio, in which the signory Bberformed their solemn offic- 
ial transactions, show correctly how strongly the antique ten- 
dencies in archiwectuer reacted in the Tuscan Gothic. bikewi- 


‘.)se on the palace del Gommunesat Perugia (1340), distinguished 


‘by its magnificent portal, is this plainly visible. (Pig. 203). 
In Piecenza is to be emphasized the stately palace Communale 
(begun 1281), opening in its lower story by a massive portico. 
with piers. In Bologna the loggia de’ Mercanti, built for com- 
mercial traffic in 1382-1884, is counted among the noblest cr- 
eations of brick Gothic. Extremely rich in secular Gothic bu- 
ildings is old Siena, where the stately palace Pubblico £4289- 
(1805) with its boldly ascending tower (Fis. 204) and the rich- 
ly treated palace Buonsignori deserve particular consideration. 

A quite independent position is occupied by the old commerc- 
ial city of Venice. The Venetian palaces do not have that st- 
ern appearance of fortified family castles, as in Florence. In 


rac iekestn itiw dbs taka eenas as yd iéso% befiso een 
“18 rsluzastosx & 90 bexastts ylisoiatemmve eyawls 9a8 e908l89 
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| od ot yvlreluoisisa af daomssets Sseodw oi bas .fisd tse1% add 
setsosisd eit dtow anoissaidmoos ai souho1g .yisos1t doid nses 
,030°6 89) .notdstnowenso Sagatmoxa ylonsadxs as estSsolf bas 
_ Bem deom od? .(itsoso% .insétaut® .(G08 .ar®) tosetd esnale 
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 eslotoutaa fatutosstdors [arene edt to Lsesever oldaiasaat 
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.SONS16 

beatstes 918 (er1tsvali) stil tes enaing [eyor sdt at atsaq’ al 
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4 6 edt To sosisg sit atseaqs diow doit ylasivotsisa a eA .ots 
| e6sost bibrslaa dtiw (S692) s1sislsbau9 ts obsdastal to otub 
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[staeta  aunn® otdgo9 dtiw aevowretat 918 adesusie detrooy 
9 tdous efsne9 datasa2 af tao1sqas vevieemeds sism astonobass 
‘Yo aoiatvibdse ods woldsottisiot bo sbom edt at setwodtl amas 


“yy 


~ 


: 144° 

them is expressed the love of splendor of a rich people incli- 
ned to a gay enjoyment of life, versed in the world, and which 
was called forth by an acauainteance with oriental products.The 
palaces are always symmetrically arranged on a rectangular gre 
ound area, have the housekeeping rooms in the lower story, in 
the upper being a hall occupying the entire depth of the house, 
which in a certain way affords a substitute for the court, la- 
cking on account of the soil conditions of the city of the la- 
goons. Their facades are preferably turned toward tthe grand 
canal. The continuous series of grouped windows, that light 
the great hall, and in whose treatment is particularly to be 
seen rich tracery, produce in combination woth the balconies 
and loggias an extremely prominent ornamentation. (Ca d’Oro, 
Palaces Pisani (fig. 205), Giustaani, Foscari). The most mag- 


é-nificent architectural monument of the Venetian Gothic is the 


Boge’*s palace, combining at the same time the residence of the 
prince and the sovernment house. (Fig. 206). Phe mighty buil- 
ding, commenced after 13810 and first completed in the 15 th 
and 16 th centuries, encloses a court treated in the 16 th cen- 
tury in the most elegant manner, and it has toward the place 
S. Marco and the canal two imposing and showy facades. The t 
two lower stories open in @iry and graceful arcades, on which 
rest the external walls of the upper story, rising high, enti- 
rely undivided and only opened by some colossal pointed windo- 
ws, and faced with marble tiles in geometrical patterns - ar 
remarkable reversal of the Seneral architectural principles, 
since the openings of the walls should occur in the upper stor- 
ies on account of the heavy load -- but the whole produces an 
architectural form of wonderful anf most hishly majestic appe- 
arance. 

In Spain in the royal pakace at Olite (Navarre) are retained 
the basal principles determinative in French castle architect- 
ure. As a particularly rich work appears the palace of the a 
duke of Infantado at Guadalajara (2462) with splendid fecade 
adorned by bay windows and luxuriously treated court, in whieh 
Moorish elemests are interwoven with Gothic forms. Oriental 
tendencies make themselves apparent in Spanish castle architec- 
ture likewise in the mode od fortificetion, the subdivision ef 


08) aontt Des PR p bns alts ips Lanne 
nneteiriy-aealla 302 s80n 00 29 26 oft tago. edt note sbive ylfs ie. 
ak ie 8 at eotossuasd sf }a289 ods a0 (TOS .ar8 ie 
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) 


iP 


fone ie bed (Sent 1stts) stonelsV al .sldsiasbay e338 900818 Ht iu 
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dotda .or8dd (stasdoxe) stadd #289 to santoorta Med 
Fw. Mutfode? edd ‘bas {gt2og eit t6 taeuetesrd tasortingsa 
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& 


: a ‘; ree tes ‘ 
a ears: . 
o9), ak 


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hist ty, a, Wf Das 
stat ives fi i ic ae a 


sis 


145 

the externel walls and the architectural treatment, as especi- 
ally evident on the castle de Goca near Segovia (15 th century; — 
Fig. 207). On the Gasea de la Deputacion in Barcelona, begun 
148., that encloses an elegant court, influences from southern 
France are undeniable. In Valencia (after 1498) Pedro Compte, 
the architect of the cathedral there, erected the three aisled 
hall structure of Gasa Lonje (exchange) there, which with its 
magnificent treatement of the portal and the fanciful windows, 
twisted columns and rich net vaults belongs to the most impor- 
tant works of late Gothic secular architecture. 


a San oe 
ch " ae it ve ue 


" 


7 Paset, Lucci 


f add 0 unio: ; 


Pie ea ree oidgod aid YIniaso ds er sat to bao add dst 

ie 10 0 ast Yo bast oft sone1® at Suemaoleved efi to simrl siz 
et atdstw tfot aovioemedt 9bsm astoaebaed Isisvea dé1otsoaed? 
aasailxebro tastetenoo att benseool .sistsa ati beeogao dotde 
- goxt <agigtoaiig gdt.to aottsoolatb, ssefqmoa s dotoetis bas 


us 
2996 ylomoisxa botsitensq bed oidsod 9AT .batsaisito tt dotdw 


ey ‘otuloads edt tu@ .efaocq sdé to worrem teomrenak edt of Bas | 


' Hy wf 


. ae ‘bSaistatem od ylao bleoo ti vd beriuoet sorsrbsat to afoq 
i ry wfratqe [aveatbem add ditiw ballit Yisitias eaw atdt as anol 
| Yo saotsqssanos saoxstith dotdw at ,doowe adi ts List sega of 
q _ Wom 101 evoite aem bas Soissaqs sasmoueda est bas blsow sat 


.9idd09 ot8f to satuvoo siitas edt ai svisado bluoo oH .alsabi 


to sages [soivoatq bas mommoo odd to sonsuliat sdi dtiw wod 
~-3b sedaid [{fte s at bas eistoatidors dowds az enaxttio ong 
~akag tolite edt tol ¢aeqee1 sdt .sintostidots teluose at 9313 
to abaia eds mort bersesaqsath yilevbse1g siyte sdt to aelqts 
~r9s.a9 evasmei1fues1 {ser bas won ylisart asdw bo& .slaosa ade 
dove of betaiso sono .elyta otdtoS sdt asd ,baso1get0t add be 
8 Satevedxs yleoaisas .futdioxtay tleett boewoda .xsmilo dota 6 
ff e9 o¢ eissqgs aud? .tnemaoleved 1edtiut oa to sidsaso bas 
8 ‘ati at banfemst ofdto® sxedw nevs <VIwIneo dt Bt sattas sdé 
| ‘agotemsa to etiga ai ,yusmisD bas Nisq& .sonex4 ai vosmesage 
ide soy et etsdd -agdoassd Rafvedsia eds mort Sateia [lite arswolt 
W faatt a award hetoor ylqesb edt at stil bouatdnoo yisisa 
” naiyb aole a ord arddiw déSac1%ta odd to aaismsr sid to Saisesw 
* .t%8 [svestbem to 
or we 8 Yo dart ods gissi mort dabssooiq omit smse add $A 2) 
tei 10082 sd at .songbso9b to botaeq gaol s istie 10% .9? 
odd 108 Soasogor0l? 40 emis s suso sisdt Naw sa99 at &f sdt to 


_- 
i 


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- batw eee 8 yd tqone ayenls .fioe ati re -tasmqoleveb bib 
vitsi 5 tod bed @ cay albbin sidteo® sds etiopttas asasq. to 
t : samot yor ettatteh atetieo at bolisveng 

quit teon ati a0 “yaivis yd lho vétm 


a hd 
a ard eke, tate fe ° ’ 
‘ eet ye ‘oii Sa 


pereies tagin ted? seis wind tho s¥ord oats ee, 


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| 
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146 
ib, Tif. Architecture of the Renaissance. 
General Basis. 


With the end of the 18 th century the Gothic style had reach- 
the limit of its development in France, the land of its origin. 
Thenceforth several tendencies made themselves felt within it, 
which opposed its nature, loosened its consistent orderliness 
and effected a complete dislocation of the principles, from 
which it originated. The Gothic had penetrated extremely deep 
and to the innermost marrow of the people. But the absolute 
rule of tradition required by it could only be maintained as 
long as this was entirely filled with the mediaeval spirit; 
it must fail at the epoch, in which different conceptions of 
the world and its phenomena appeared and men strove for new 
ideals. We could observe in the entire course of late Gothic, 
how with the iniluence of the common and practical sense of 
the citizens in church architecture and in a still higher de- 
gree in secular architecture, the respect for the strict prin- 
ciples cf the style gradually disappeared from the minds of 
the people. And when finally new and real requirements enter- 
ed the foreground, then the Gothic style, once carried to such 
@ rich climax, showed itself unfruitiul, entirely exhausted a 
and capable of no further development. Thus appears to us in 
the entire 15 th century, even where Gothic remained in its s 
supremacy in France, Spain and Germany, in spite of numerous - 
flowers still rising from tbe withering branches, there is yet 
merely a continued life in its deeply rooted trunk, a finel w 
wasting of the remains of the strength within it, a slow dying 
or mediaeval art. 

At the same time proceeded from Italy the light of a new li- 
‘fe. For after a long period of decadence, in the second half 
of the 13 th century, there came a time of florescence for the 
sunny land south of the Alps, in the course of which the scien- 
ces in combination with the formative arts ettained to a splen- 
did development, On its soil, always swept by a slight wind 

of pagan antiquity, the Gothic middle ages had but partially 
prevailed in certain definite regions, and even threre freque- 
ntly only by givin€g up its most important principles. There 
also broke out fully then that mighty novement, which overthrew 


fol s xea-s boosboxsst igs tabeethouns seas uiiys edz 
eis Roe : + hak -botieq bekasdo yl 

| poe raneabiagi ja he ssowah saiiisqar sdt eisesa sano tI 
f. » anoited edt [fs ab beasots aisys studen toi aailest adé bait 
| eft to slobia sdt t0ot%ts re3a01¢e Suimooed nevs bus tas¥ add to 
+ & yHoolR sat os sasatnoe Squtde at boote dokdw .vautaso dt Et 
“isiseG asstA  .eoae olbbim odd to titiaa gatonwonsi-blrow bas 
_ +=dowa détmw blxow sG% Yo ytused edt bodiasaah bad (A°EI-30E2) do 
F, -e1g 4 sfsiegaek omsced siutea ak vot edd .wottstiaent antwola 
_ - & Baemonetg asi to egdslwoad s biswot selequi avoaday vlauotv 
~[ie,bseeodsog oxbolwoat tot teridt Lem10% s .eseuso itedt dna 
_  =~cecea 8 ovat tase msicttaelodoe blo edt t& ot Hezogg® .abaia 
¥ - sveis 

, edt ‘to. seabe than edt to neiselove od? at eldiorot visnertzG 
E, £ tedt adasttogat {sueaas oat te tostio adt t6déq2 ash omits 
af dtod hesbat .yl{sreqs8 siqoeq edt at bexsose matLsubivibat 
+) -8afsmeb ottetsis wi as Llew as ,fanttifoa bas Lautosiletat 
baooee on as dove ,2eedqyioo .esitilanoe1eq Iutrowod bas tse19 


~som99@ od7 ao boiseqds ,aiast bsiuree dove wi wode of esd bati 
~ibem bikia edt to atsstst anintsisest edt aetoud sr6w medt y@ 

q bas [sutoallesad ‘at Viivitos ge1t .esmgacb yvaoaluaqmos Lavoe 
~  dnemetivugs: taatiogmi taom bas daxnit odd asw stil feortilog 
“oomeb A .de9%186 sigosa sd4 to eeeas{s teoatsl adt dotdw dtiw 
{um odd botsaimoh yousbnot faesd oitetiss: yleiitae bne sitter 
| ~ “detedd sebt asitetsd9 eft ted? .eldsbtovens agw tl .obotis 
). ~detatwid dorsdo edt to eonguitai sd¢ bas -29astiogmi ati teol 


2 Mat Lac | (-eteetetak islsoea of. bstovab asw 

i ithasdhexe ulteide peathe tens ofesslo fo atdasods adz sxodt 
gk wea so ¢d2007d bas sonsdasoos Sailliw bagot .ybude beqissl 
sem ur .awsiv al egasio edd lo citeintetosisds yldyid .sely 
+90it odd to agortibaoo edt to tasmqolaveh seddtast sd$ t0t suas 
ue Peagergxe eXtow eaodw .ydiuvpisas to agfqosg odd ai wae ao 
_ edt Tonfsebi odt yitnoupes? ,r2et0stedo isivesa bas 9ns108 8 do 
baw waolodtym .Stutetecit afeds jytiorf{st yfdtase tostieq teow 
Symone NORA -Hoftqece: r9misw s bsyotae yilsuaitaos t2s8 
NE 3 ba o adasioas: ue emntoetidere eds aceuted aneab 

. ey a . y a 


* Seer 


~aem to ebuim edt to bus avitssilivto to yaoteta sd to botweqy )) 


a ete: ofiduq to goisaedts teido edd sapasem jatessioni al ba 


147 
the entire mediaeval system and introduced a new and complete- 
ly changed period. 

If one seeks the impelling forces of this movement, we first 
find the feeling for nature egain aroused in all the nations 
of the West and even becoming stronger after the middle of the 
13 th century, which stood in abrupt contrast to the gloomy a 
and world-renouncing spirit of the middle ages. After Petrar- 
ch (1804-1374) had described the beauty of the world with such 
Slowing inspiration, the joy in nature became general, A pre- 
viously unknown impulse toward a knowledse of its phenomena a 
and their causes, a formal thirst for knowledge possessed all 
minds. @pposed to it the old scholasticism sank into a nonen- 
tity. 

Extremely forcible in the evolution of the conditions of the 
time was further the effect of the unusual importance, that i 
individualism secured in the people generally, indeed both in 
intellectual and politicel, as well as in artistic domains. 
Great and powerful personalities, coryphees, such as no second 


/,¢period of the history of civilization and of the minds of man- 


kind has to show in such serried ranks, appeared on the scene. 
By them were broken the restraining fetters of the rigid medi- 
aeval compulsory dogmas. Free activity in intellectual and p 
politicel life was the first and most important requirement, 
with which the largest classes of the people agreed. A democ- 
ratic end entirely realistic basal tendency dominated the nul- 
titude. It was unavoidable, that the Christian idea thereby 
lost its importance, and the influence of the church Giminish- 
ed. In increasing measure the chief attention of public life 
was devoted to secular interests. 

There the thoughts of classic antiquity, chiefly produced by 
learned study, found willing acceptance and brought a new imp- 
ulse, highly characteristic of the change in views, very impor- 
tant for the further development of the conditions of the time. 
Wen saw in the peoples of antiquity, whose works expressed su- 
ech a serene and secular character, frequently the ideal of the 
most perfect earthly felicity; their literature, mythology and 
art continually enjoyed a warmer reception. Gomparisons were 
drawn between the architecture of the ancients and that of the 


Tare, ri iv | Sar | 
" 1 19d isbarCones: bébrbokesen ea aem bas .e5a68 elbdbim 
)  etets ¢eittl cneet0 dt to ytivotyequa Ismiot daid ods Ratstagoo 
axe oktettas to isebt Ratybaw edt bas bantastsau sat tava sax 
hentsines dotdw .supitas sd3 to Lavives ett saotersds nOlaket 
. @ sedw asm .ifs to amzolt betsvelfs teom bas belifnath saom ads 
8 1ot mis teodaid sit gatmro? ,10t svtate oxedwyieve taum tre 

» edd to tfsd baoose odt al -~ .emit aetel edt to eteivrs If 
* sSEetovateoq taessexg:edt .otozoc08 bas dorsats? Yussnes dt bE 
8 edt dastaoqut seom buns tent? as bebaemed ,boti9ed sed atyié 
oaff eteitae ods ao hetosn gsbt ein? -9u0rsas edt of actesdbds 


asewted) etiate to 2efistass 1etis avd?’ .to8t 6 susaed tt V74\ 


-msf{e ofdto9 ods bas srtqms nemoh asf{lset 943 to aaoistbatt odd 
“Hi aotteLinteas to eideqse ton has déto est wort aatmod atas 
ft od tastrogat vilaaibesoxe Sotaslonos edt of sma asm visit 
isustostidows asmoh sd¢ taobs oF .awottextfivio to vioteid saz 
edt af etasaortuper wen sdt tot soteesaqxs to easeom 2 es 2us0T 
-gitemio? ssoit mort baansd9 .atsmob Iatroten bus Isutosfistat 
~edd to ytotaid sdtont bolespens sonaxthoos as esw 41 .aoumos 
“gomb- Safed sedis otif won otat bonsiaws esw gis a8 tads .bfr0w 
Pty -a18ey Basavodt « rot bag 
 vbseais, ee alieebics "deisds soneioe bas tis at dooae won od? 
~1%) sonseatens# to omen edt bovtecs: bed vaudnso dé BL edt ak 
-sifeqas aids dauodtls .(dttider = otusmtoessts asiiss? edt mo 
eksupid¢as sdf 40% nottsortiadte edt areuadxe setwoa ai aoe 
~utos. oefa- 2eu ST .rotost katrises09 eds sud hafhtosh adv toa 
~92 edd ai “diatdes” s es betss1s tom saemevom won odd xt vile 
eds to weiv wen s o¢ aotdéteasit adt 28 tod .bevisonoo 519d seq 
‘wetisisssa mort bavetsh tixtae wea yleittne as asw tl .bfaow 
wea dotdw bas .ae3s elbbim sdt antoavogs1 vuetfsubtvibat bas 
-a¢ lsotees{o to ytiaudem bas viused beotsdad olitserev odd at 
_ = tf To agttce soo, susmud bas avoinomted 8 Yo [ashi add vitwoid 
; elditensdxsai a8 e8 e1stetstil bas sasveael est Debasaer . st 
_ agaud oft To acitsoube Lestosiletat baw Lestdse edt Tol s0%008 
bo avebom Lie eteer nae ao Spaiaericw ae bebasot bas .s084 
ae a arenas rey ch oy aottestitv 
+ covostan oat to doccenai hevisonos etetsag odt vinietreD © 
Be ey 12¥ .etutoetidow to ales eft mort shies yle1teas 


q =géneo dt 32 edt Yo tied teait eds al -Goitsatas (Li sz9¢s912 6 
| 


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va i as —— Re 2 bs a 
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$k. 


148 
middle ages, and men finally reached the conclusion, after re- 
cognizing the high formal superiority of the former, that this 
was ever the unattained and the undying ideal of artistic exp- 
ression; therefore the revival of the antique, which contained 
the most dignified and most elevated forms of all, was what a 
art must everywhere strive for, forming the highest eim for a 
all artists of the later time. -- In the second half of the 
14: th century Petrarch and Boccacio, the greatest poets of It- 
aly*?s best period, demanded as first and most important the a 
adhesion to the antique. This idea acted on the artists like 
a greater illumination. In the first half of the 15 th centu- 
ry it became a fact. Thus after centuries of strife between 
the traditions of the fallen Roman empire and the Gothic elem- 
ents coming from the North and not, capable of assimilation in 
Ttaly, men came to the conclusion, exceedingly important to t 
the history of civilization, to adopt the Roman architectural 
forms as a means of expression for the new requirements in the 
intellectual and material domain, changed from those formerly 
common. It was an occurrence unequaled in the history of the 
world, that an art was awakened into new life after being drop- 
ped for a thousand years. 

The new epoch in art and science thereby introduced, already 
in the 16 th century had received the name of Renaissance (fr- 
om the Etalian rinascimento = rebirth), although this appella- 
tion in nowise exhausts the signification. For the antique is 
not the deciding but the concurring factor. It was also actu- 
ally in the new movement not treated as a “rebirth” in the se- 
nse here conceived, but as the transition to a new view of the 
world. It was an entirely new spirit deryzved from naturalism 
and individualism, renouncing the middle ages, and which saw 
in the versatile bahanced beauty and maturity of classical an- 
tiquity the ideal of a harmonious and humane con eption of li- 
fe, regarded its language and literature as an inexhaustible 
source for the ethical and intellectual education of the human 
race, and founded that humanism, on which rests all modern ci- 
vilization. 

Certainly the artists conceived a revival of the antique, é 


entirely aside from the realm of architecture. With greater 


Oey ns 7 A 
‘ ‘eu Ir ‘ 
ig / 


f 7 ae he ee : 
al a7 ia ; 
at - 


i e Kae ey re? 
iciuielplh H Fue: epathtesd to eatemen edt betbsse sien tiatge 
PAiapaddlims +s1gases toshaods ak beviene1q asdt .hoiseq fe 
.. ~asdogtidors oft ot 2atbaoqesatos efebom wet gud bawot s1sw wo 
P ~asem bad etotistai to tie sd? .bokteq wen edd to ameldorzg is 


{ bed mem abodteom {soindoss bus aeteye Lergtostidois saodw vd 
eo sepitas sdf iaasldo1ig sivotliib teow edd asteem of baarsef 
8s 10% aeol .asaobs0e19 sidedive sousaaisnsi od¢ of b5401%0 
mteteY..acbsoa® Ya awiol edt 190t asds ,eaottedat to tasadasit 
ed2 .exseodt asmof sdi ot basiuil sx]e" yods . seeds o¢ bisast 
-9vee to mefaosivaes sdi bas ,2gedo1s L[sdomeras to stetosdidors 
‘blvoo neM omit ssdt ts Quinteaue1 (iide .(f suolov see) aus 
ed¢ yiao tod. .boesd stew oasis dotdw ao mstege sd¢ yolqms ton 
| w990°sd¢ ai asv3 .aliseed sat to amrot sd¢. aabdeesxd to bodtss 
~989509 awo eli beveruq somseataass offm axotistai add to aoites 
",ee0R8 elbbim eds yd betsotdai sao ylewotvesa gon ano satwedil 
at yfovieuvloxs aeteva Lsantouttea aft bovelervesh bsd oidsod ad® 
-agevaoo 101 atcfietat to snewieess offs ok jexndoastdows doxeds 
-otd1eq Gf .en0itasoe: [stael aslaoese sot 10 aotésdidssat sast 
“qs Soaseeisnes edt sisd? .engesew ddaile ysev at ylao betsui 
dus” odd rot omusrz0xg bibaelqe s se0qo01g oF 1970 ai botseg 
_ #05 seodw .slyte Isniedat ae betsoto s1 “. stil Yo sbhom sdz to 
: -s9980 e1edmsm eti io bas r0ivesat ne to ysused sdt xOt 2a0rtib 
adi) .esley taeasmxeg to nettoyasanos to elaioaiva Isebit as 9m 
| ‘emis odd to sixtae weo odd yo beowborg exoiasdat io auotésexo 
i ¢ youpidas edt to saxrol fistsS add at sonsebisgeh sis bodtodo 
Z mavennee {goteeslo to sisde edt bas eonsttegmih oft eatl atertads 
eRe Shs sNoitudove esi at santos 
; ie edt tsdt .eo0nsteauorte seedt Asbag oidsbioveas eaw Tf 
oi Foetreq) bas evoknomied)s of eats biwede tacateers feis0sti 
~,Biedesm sastiogmt wet to ebusd ens at virs{voisisq .matassto 
| vase eaottoast edt esotcxe ton ob eiedmen snosottib ods slide 
 eshagooet of bonteel sved ew doidw teansm odt ait .wsds yd be 
; ~f emefov) areh10 abedd bas anwaioo astos1® eds to youta 2 ai 
_ atettrs asmof end doide ot .mutbste sd at yind  .(38-S8 zoxsq 
E> Ser etbemmtos sis ao) supttae siy sstwpooss of benrsel yiltetdo 
‘Dosieotonnetied (1 memo to. tsds. bas botasa ouisbasxela ais 
Las Sead tedd .ydiweq teds teoi pomunee bsi atedmom ea 


a Pe, 


a re ae ati 


_ -80R8 sfbbia a4t to Loodee betaveie edt yd t9vo enog ased sliday.. 


4149 
spirit were studied the remains of buildings from the classic- 
al period, then preserved in abundant measure. However in th- 
em were found but few models corresponding to the architectur- 
al problems of the new period. The art of interiors had mean- 


‘»owhile been gone over by the elevated school of the middle ages, 


by whose erchitectural system and technical methods men had 1 
learned to master the most difficult problems. The antiaue o 
offered to the Renaissance suitable precedents, less for the 
treatment of interiors, than for the forms of facades. Yet in 
regard to these, they were limited to the Roman theatre, the 
architecture of triumphal arches, and the Septizonium of Seve- 
rus (see volume 1), still remaining at that time. Men could 
not employ the system on which these were based, but only the 
method of treating the forms of the de’ails. Even in the cre- 
ation of the interiors ghe Renaissance pursued its own course, 
likewise one not previously one indicated by the middle ages. 
The Gothic nad developed its structural system exclusively in 
church architecture}; in the treatment of interiors for conven- 
ient inhabitation or for secular festal receptions, it partic- 
ipated only in very slight measure. There the Renaissance ap- 
peared in order to propose a splendid programme for the “art 
of the mode of life.” It created an internal style, whose con- 
ditions for the beauty of an interior and of its members beca- 
me an ideal principle of construction of permanent value. Its 
creations of interiors produced by the new spirit of the time 
clothed the Renaissance in the detail forms of the antique; + 
therein lies the importance and the share of classical archit- 
ecture in its evolution. 

Tt was unavoidable under these circumstances, that the arch- 
itectural treatment should rise to a harmonious and perfect o 
organism, particularly in the hands of few important masters, 
while the different members do not express the functions serv- 
ed by them, in the manner which we have learned to recognize 
in a study of the Grecian cdtimns and their orders (volume 1, 
pages 62-75). Only in the stadium, in which the Roman artists 
chiefly learned to recognize the antique (on the monuments of 
the ~lexandrine period and that of Roman art), the architectu- 
ral members had already lost that purity, that was peculiar to 


: “saasatanod at s0L2400e yok othastvaienbe anh ends bos sldixelt 
“a0 agtes18 eds to am1ot evevee odd mt asds .e1ss9esido1w 90 
~7ROy. Svat te: »20I5q35 
 f9edkb ofat {isl ton bib shnanetandll eds to atetesm edt tnd 
_ at doa dasei te .emt0l Ieastosvidow Lsotesealo to aoisetiar 
“easid .sinemele eds botqobe yeds sebotseq ¢ead bas yixee odd 
“) Wedd beilqgs aeds bas .olyte tot antlest awo tteds vd bomte? 
aii yot beeeesiqzes odd déiW s.acitasoaq09 wan 6 at ation rtedi of 
~ed3 lo Baidas00s Soorth ¢elanewos1t bas eaorse ods bas sauden 
“pitas eft of bseoago yltos1th ii as bsiseqas yods .feubtvitbnd 
bad +101 to ytused s1uq biswos betoetib mia edd at neve 90 
88 bedefasolt tegao0l om sonsantene® edt to gas edt saotsiads 
»eso1s s19edt iolyte sdt to yonsbast baiting @ gi aisottas at 
“afedd ai.ano Dsftatse astio siew doidw .stnersyo t418s fasta tticd 
vdeted? .exetesm anibsel snoniwo1g yd yawtaes s Tot abustares 
~ofenoeteq edt jeteidis to yrotaid 8 emsoad d1s Yo. cioteid odd 
~* sbaworke10f odd ni bersegqss1 ytiuptias at oust to aidesow 
agaiits lo ytilevbivibat tse1e edt to acitalovs sa7% adi 10% \ 
+ edd heretio yasm1e8 bas yfstl .a2ske sibbim sat to bas sdt $8 
~od' sonseutene? sdt.eotitavoo seodt. ai sicoteteds tsasce tasbin 
~ou@ bedtolis atead bas basland .oonei% sesiart sesdota add 9% 
~ove.ods tol fier sldsiovsi aeel s aotéssifsitaes anoiwte risdé 
~tfoq edt e1cdw ,yasmre9 asdt esitirsilyosg lenoareq to sorted 
somet1s990 eft of ebnwod Setotidess aes gee aoisivibdss Leste 
basi atemedt to@ .ystisubivibat cttettxs to soasuaitaoo bas 
“£9 d991fb 8 sa e1scqqs o1edd JI .ydissl ei souseateaeA siz to 
~ftae edt to amrot odd ui siqosa edt to dintga ads to aoteaarg 
~ybas Itoe asilesT no baaasiqase ylovidas isven een dotdw sue 
~aibrodss of sidt belleqwoo ti asdw .otdto® add bersuoR0D neve 
_ -wele oiseitis taft ot agodt eeor tt teelgtonixa Lsasd ati sts 
| etttae odd tot somsticgmt [sersvias 8 df of taei dotaw ,aoits 


Se se eee * 


ak. we ae . ,eamit Sn fd5e9000e to gra Isis¢o9tidors 
>was ores af sonsdeteaot eid to sistosdidoyA if 
omer hei maser <P . y: ? -tottufova {setroterR. .f 


arated a dvietudliniaies ‘eistostidoss sossaetsaeA asifesE . 
a phic haem bas agiesb eds dviw dasa tentzi oft to avon ots 
“a3 daebfe0s on esw 31 .eonet0L% to fsibeddso edt to smob add i 


aly be m2 ; aes 
‘OO. ee i Bi 7: x aks. 


150 
them in the best Gothic period; they had become ductile and f 
flexible and thus far more suiteble for adoption in Kenaissan- 
ce architecture, than in the severe forms of the Grecian con- 
ception. : 

But the masters of the Renaissance did not fall into direct 
imitation of classical architectural forms, at least not in 
the early and best periods; they adopted the elements, trans- 
formed by their own feeling for style, and then applied then 
to their works in a new conception. With the expressed joy in 
nature and the strong and frequently direct accenting of the 
individual, they appeared as if directly opposed to the antiog- 
ue, even in the aim directed toward pure beauty of form. And 
therefore the art of the Remaissance no longer flourished as 
in antiquity in a unified tendency of the style; there arose 
Gifferent art currents, which were often carried on in their 
magnitude for a century by prominent leading masters. Thereby 
the history of art became a history of artists; the personal 
worship of fame in antiaquity reappeared in the foreground. 

For the free evolution of the sreat individuality of artists 
at the end of the middle ages, Italy and Germany offered the 
widest space; therefore in those countries the Renaissance bo- 
re the richest fruits; France, Bngland and Spain afforded by 
their strong centrelization a less favorable soil for the evo- 
lution of personal peculiarities than Germany, where the poli- 
tical subdivision set less restricted bounds to the occurrence 
and continuance of artistic individuality. But the main land 
of the Renaissance is italy. It there appears as a direct ex- 
pression of the spirit of the people in the forms of the anti- 
gue, which was never entirely suppressed on Italian soil and 
even conquered the Gothic, when it compelled this to subordin- 
ate its basal principles; it rose there to that artistic elev- 
ation, which lent to it a universal importance for the entire 
architectural art of succeeding times. 

1. Architecture of the Renaissance in Italy. 
1. Historical Evolution. 

Ttaliean Renaissance architecture appeared with a great artis- 
tic work of the first rank, with the design and erection of t 
the dome of the cathedral of Florence. It was no accident th- 


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151 

that Florence, the beautiful Tuscan capital on the Arno should 
become the birthplace of the Renaissance. There at the begin- 
ning of the 15 th century the interest in art had penetrated 
into all classes of the population, favored by a refined cour- 
se of life, that elevated political and social conditions. The 
works of the artists attracted popular attention; in the full 
entirety, these took part in the high ascent of the intellect- 
val culture of that time. In the animated sense of the Ploren- 
tines, particularly receptive for novelties, was aroused a se- 
nse of their own power, an elevated feeling, that pressed for- 
ward to great artistic deeds. The opportunity for this was p 
presented to them by the cathedral. (See page 1386). Already 
during the entire 14 th century the citizen class had busied 
itself in its progress in an unknown measure; ever again were 
new and grander architectural ideas brought forward, competi- 
tions among artists were established, and commissions of arch- 
jtects and painters with many members were formed with the con- 
mand to undertake something unknown. In the year 1420 the bu- 
ilding bad so far progressed, that thererectioncdfouhel dome c 
could begin, which Arnolfo had included in his design, even if 
in much more modest dimensions. But the vaulting of an inter- 
ior of such a colossal span (137.8 ft.) appeared to the maste- 
rs of the cathedral as a hazard, for which none among them co- 
uld decide. Then Filippo Brunelleschi, a gifted, learned and 
any-sided man, an artist previously chiefly active as an eng- 
ineer, Soldsmith and sculpter, presented a design with static— 
al explanations, on the basis of which he was appointed master 


»¢ of the building of the Cathedral, and was entrusted with the 


execution of the dome according to his plans. After 1417 Bru- 
nelleschi had undertaken thorough preparatory studies of anti- 
gue structures; in 1420 he commenced the vaulting on the alre- 
ady existing drum, indeed as a cloister vault with strong ribs 
rising from the angles of the polygon, with thin vault shells 

built between these as the internal dome, and an external hig- 
her protecting dome built in the same manner, that was connec- 
ted with the internal dome by intermediate arches. In the ye- 
ar 1434 was the dome completed in its most essential parts by 

the addition of the heavy crowning rins to receive the ribs of 


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152 
the vault. At the same time was adopted the master’s model f 
for the lantern, a small addition loading the upper ring and 
admitting a high side light. Its erection first commenced in 
1445, shortly before the master’s death; it was completed in 
1467. (Big. 208). : 

The cathedral dome of Florence has less importance as a sty- 
le-forming monument, than as the earliest work of that master, 
of high importance chiefly in structural respects, which as t 
the first after a zealous study of the ruins of Rome was call- 
ed into life with the aim for the architectural forms of anti- 
guity. Brunelleschi was there entirely restricted to the €oth- 
ic substructure; its dome stands organically on thet. And yet 
the same breathes the spirit of the new time. Therefore it al- 
so became the actual creative building of the Renaissance. 

The succeeding evolution of the Italian Renaissance architec- 
ture was completed in three periods, which exhibit the growth, 
flourishing, and the decadence of the style. 

1. The early Renaissance from 1420 to 1500, * This is the 
period of transition and of search for the new forms of the s 
style. Its chief region is Florence, where beside and after 
Brunelleschi, masters of genius, such as Michelozzo, Alberti, 
Rosselino, Cronaca and others developed an extremely fruitful 
activity. We shall learn to know their works later. They pr- 
esent to us particularly in the first period tentative and st- 
ill uncertain proportions of the architectural masses after a 
antigue principles, and in the treatment of details a very res- 
erved tendency toward the architecture of the ancients without 
any deeper insight into the conditions on which it was based, 
and especially without an understanding of the more refined re- 
lations of the members to each other. On the other hand there 
is in the rich and naturalistic decoration a freshness and ch- 
arm, which give to the works of the early Renaissance a pecul- 
iar and almost youthful grace. 

* Fhe Itelians designate this period as “Quattrocento”, t.é. 
the time from 1400 to 1500, and the highsoand late Renaissance, 
as *Ginguecento”, i.e., the time from 1500 to 1600. 

2. The high Renaissance from 1500 to 1540. The art of the 
15 th century advanced with colossal strides; with the beginn- 
ing of the 16 th it entered a new phrase. It had then learned 


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how to solve the most difficult problems, to perfect technical 
methods to the extreme, to make the classical treatment of fo- 
rms its own, and to dray all arts inithe richest measure into 
the service of architecture. The impulsive pressure of life 
peculiar to the entire period was contemporary with a mighty 
tendency toward greatness. In the entire architecture was ex- 
pressed a feeling of the masters and architects directed to 
the monumental. 

With the entrance of the high Renaissance the centre of grav- 
ity of artistic evolution was transferred to Rome. After the 
middle of the 15 th century the eternal city had continually 
won greater importance, and had drawn leading artists to itse- 
if. ‘After the powerful and art-inspired Bope Julius II had 
ascended the chair of S. Peter (1503), he called the greatest 
masters of the new art to his eourt, and then arose on the ru- 
ins of the ancient world a magnificent city, in which was vis- 
ibly renewed the former splendor of the Roman emperors. Italy 
entered on an unegueled climax, into its golden age. Artists 
with incomparable gifts and creative power developed before t 
the astonished world their epoch-making activities. This was 
the age of Bramante, Raphael, and Michelangelo. Both in pala- 
ce as well as in church architecture did they complete the gr- 
andest works.- - Not long, scarcely a half century did this c- 
climax of the Renaissance last. Already before the end of the 
first half of the 16 th century, it passed over intoi-- 

3. bate Renaissance. This falls in the time from 1540 to 


/b4 1580. fhe freedom in which the great artist natures could. mo- 
ve, which in a directly unlimited manner dominateddthe interi- 


or and the material and brought them into a harmonious organi- 
sm, was a danger for their less important successors in & per- 
iod, that required from the architects the extraordinary and 

the unusual; they inclined towerd that intended heightening of 
the artistic means of expression, in which ue recognize the 

first symptoms of the Barocco style. But there still prevail- 
ed, at least in general and for the next period, the high sen- 
se of beauty derived from the works of the great Bramante; it 

entitles that group of masters with refined feeling to perman- 
ent fame, who recognized the sources of beauty in the internal 


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154: 
truth of the architectural works and of their organism, and in 
regard to the treatment of the forms in definite proportions, 
since they sought to investigate these and thus create princi- 
ples of style, that in fact and in writing should be esteemed 
as ever applicable standards of genuine artistic treatment. 
These are the great theorists, Vignola, Serlio and Palladio, 
who then developed their rich abilities,sometimes in Remetand 
in the more important cities of middle and upper Italy. bhike- 
wise for these was determined in a stili higher degree than 
previously the spaciousness required by the owners. They are 
also spirited and original in their works, even if the free a 
artistic feeling then prevails less than the calculating and 
combining understanding. The antique stands nearer them than 
their predecessors. With great earnestness the architectural 
works of the ancients were by them investifpated anew, measured 
by stories and by orders, and from the results were establish- 
ed in a certain way for proportional dimensions of all: separa- 
te members. Thereby architecture assumed a predominating aca- 
demic cheracter. Vitruvius’ works (see volume 1, page 134) a- 
Sain received a thorough study. More than previously was the 
attention devoted to the architectural treatment. The ornamen- 
tal decorative work, which played ae part in the early style n 
nearly equal to the structural, but which in the high Renaiss- 
ance appeared in a harmonious but subordinate relation, indeed 
retained its purity, but showed a cool and almost indifferent 
reserve. * Thus the buildings received an indeed dignified, b 
put frequently stiff and aristocratic appearance, that is par- 
ticularly expressed in palace architecture and there presents 
a reflection of that srandeur (srandegzza), that proceeded from 
Spain, and dominated in increasing measure the society there. 
About the end of the century the detail sinks to an entirely 
capriciously treated portion of the whole, the transition to 
the Barocco style is completed. * * 

* In the decadence of the enjoyment in ornamental decorative 
work is expressed a lessening of the national. in the architec- 
ture of the Renaissance. The humanistic movement ortginating 
with it brought a division of human society into cultured and 
uncultured. The erchitecture also therefore acquired in its 


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 =olyme si .enctts1009b bas eioot .eaniLisn .elisw sdt 108 .da 
edt ¥inO +.ebotieq Sas gutbsosia odd es alsivesan omee odt bey 


Be! ~ints Gs a8 tod .sense taeesia od¢ at [etaeden {exutourse tasb 
at vitelvoitisq .asistostta asboow bas suote rot {stietan Qn 
-  eupitas sa? .eseeeqsea dors 101 asis bas atodoue to azot sdz 
| soutdenca to ensem ofdteiv dove eldiaeoq as ast as bebtovs bed 
5 Mods eonensuteq tteds ao en0ttooltex eoubotg Saum dadyv ,aots 
88g bedors af ylaeo toa ,msd¢ to sen tasbauds sham soneeetanst 
_ gatenoo affsw sd? .eodowdo bas «fied T8918 ai asve gud aohae 
_ betwosxs drowlotzd 10 efddsx to tedéte .eusfoua yinoasa s to 
“ad. onrine skataeqo ods dotdw ag testom emil 10 Sisdaas date 


atoas ‘gst -Tnomgoleush ef Yo esntiq tend sds adot Witsgorq 69. 


-ebodtoM faobadoe® bas asteyS [erssours2 sdf IT Ae, 


/ “aeqebai as.ee tom soy .sonsbauds isss9%8 at sey ogat banesa qo \0' 


155 
further course a predominating courtly character. 

« * Indeed strictly taken, the Renaissance does not thereby 
come to its end. Fhe Barocco style and its successor the Roco- 
co properly form the last phase of its development. Yet their 
origin and development, particularly in northern countrtes, re-~ 
sults from so many new impulses and views, that we shall. cons- 
ider these in a special Chapter. 
ys” II. The Structural System and Technical Methods. 

With the revival of classical antiquity the antique structu- 
rel system again came into use, that in contrast to that of t 
the resolution of the masses and of upward movement followed 
by the Gothic, sought esthetic satisfaction in the rhythm of 
the predominating horizontal architectural masses and the equ- 
ilibrium and uniformity of their bearing and supported members. 
Thereby the basal principles expressed in the columnar erders 
and their entablatures became predominant in construction. Th- 
us the Renaissance invented no new structural system; but it 
performed an act of the greatest importance, when it did not 
restrict itself to the technics of the ancients, but in order 
to construet rationally in all respects, employed all systems 
of construction according to need. It thereby introduced a 
permanent basal idea into the art of the interior, Since it 
held itself entirely free from structural restraints, so far 
as esthetic harmony permitted this. 

With the same freedom it proceeded in the selection of its 
pbuilding materials and their technical treatment and employne- 
nt. For the walls, ceilings, roofs and decorations, it enplo- 
yed the same materials as the preceding art periods. Only ir- 


‘> on passed into use in greater abundance, yet not as an indepen- 


dent structural material in the present sense, but as an aidi- 
né materiel for stone and wooden structures, particularly in 
the form ef anchors and ties for arch stresses. The antique 
had avoided as far as possible such visible means of construc 
tion, that must produce reflections on their permanence; the 
Renaissance made abundant use of them, not only in arched pas- 
sages but even in great halls and churches. The walls consist 
of a masonry nucleus, either of rubble or brickwork executed 
with asphalt or lime mortar, in which the openings for light 


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156 
and the supporting points are omitted for the finally applied 


facing with ashlers. In the dressing of the latter the Renai- 
ssance shows itself very fertile on the side of form. Before 
it ashlars mostly had smooth external surfaces. But besides 
these, ashlars with bosses and drafted margins were common in. 
antiquity among the Greeks, Etruscans, Romans, and in the Ronm- 
anesque period, particularly in fortifications, combined with 
smeoth stones having ornamental chiseling, and in the Romanes- 
gue period was common the moulded border with smooth boss. Tf 
The Renaissance adopted anew these modes of cutting ashlars as 
a very importent decorative means for animating wall surfaces; 
these were richly treated in the form of square or rectanguler 
diamond ashlars and those with flat raised bosses, and these 
were either used uniformly over the entire facades, or with a 


)>' certain graduation, so that bold and irregular bosses were ar- 


ranged for the lower story, for the second a regular jointing 
with flatter ashlars, with entirely Blane ashlars or smooth 
coursed masonry in the upper story. (Fis. 208). From the irr- 
egular and dry treatment with bosses this method received the 
name of rustication, that was also transferred to ashlars with 
more careful treatment of the faces. The rustic work presents 
“se representation of rude strength in alliance with the arrané 
sing and creative spirit of man”. -- Besides this masonry with 
a facing of natural stones, there is also such with bricks le- 
ft visible, these being frequently stained red with white joi- 
nts, usually as a covering of the wall between the cut stone 
architecture, freauently in combination with plastered and pa- 
inted green surfaces, also by a network pattern of red and yel- 
low stones. This mode of decoration was translated into nobl- 
er stone for particularly dignified constructions, and thus i 
into facings with slabs of marble in surface patterns of diff- 
erent colors, a procedure that greatly flourished, especially 
among the Venetians. Greater favor was already enjoyed in the 
early period by terra cotta, both in natural colors as well as 
with variously colored glazes, and indeed for architectural en- 
closures as well as for purely ornamental decorations. If in- 
ferior and unegual materials were employed for the walls, a p 
protective coating of lime plaster was given to them, to which 
was sometimes Siven an artistic effect by the sgraffito to be 


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157 
described later. A building material. very flexible for relief 
decoration was thus secured in stucco (see volume 1, page 76), 
of which excessive use was made, especielly by the late Renai- 
ssance, 

Woodetakes but a modest part in the external. constructionse 
of Italian art; it is chiefly limited to the strongly project~ 
ing (up to 6.56 ft.) roofs, which are artistically treated as~ — 
a wooden cornice with console-like ends of purlins and rafters. 
The Florentine and Pisan palaces acquired by this a very effec- 
tive termination of the facade. 

For the roof construction as a rule was chosen hri low purl- 
in roof covered by hiles on metal plates, more rarely (in Gen- 
oa) with slates, and for slight inclinations, stone slabs. 

The internal ceilings were constructed either in wood as hor- 
izontal layers of beams and ceiled beneath, or solidly in sto- 
ne as vaults. For the latter the cross vault continues On use; 
put the ribs of mediaeval form are only retained in the early 
Renaissance: later the cross vault occurs almost always in the 
Roman form without ribs, the sroins diminishing upwards towards 


/y2 the vertex. The tunnel vault came into more common use again, 


as a rule being subdivided by dropped arches and coffered aft- 
er the antiaue form. Over winding stairways it becomes the a 
annular vault. A new form was introduced by the Renaissance 
in the coved and panel vaults, which were preferably employed . 
over corridors, vestibules, stairways and festel halls. They 
reseed on the impost cornice crowning the walls as a broad ca- 
vetto, above which the middle panel (mirror) extended as a ve- 
ry flat vahit. The panel received a sold frame run in stucco, 
in geometrical lines in the Renaissance, later in curved ones. 
Fhis sort of vaulting proved especially favorable, since it r 
required but little height and presented large undivided surf- 
aces for the representation of relief and picturesque figure 
compositions. The execution followed with tiles laid flat-.in 
excellent stone and mortar; it placed sreat demands on the sk- 
ill of the workmen. For Sreat spans men preferred the sham 
vault already recommended by Vitruvius, built of wood with la- 
ths or board sheathing and a coating of reeds and plaster. 5S 
Strong vault thrusts, when no tie rods were arranged, were fre- 


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158 
frequently opposed by a corresponding strengthening of the 
walls by buttresses, which then extended théir entire height 
with the same thickness, with cornices broken around them and 
airy caps izge tabernacles instead of finials. 

Dome construction received a greater development. Models 
for this were afforded both by the examples given by the Rom-. 
ans (in the Pantheon and the temple of Minerva Medica; volume 
1, pages 135, 139) with circular or polygonal substructures, - 
and also by the Byzantine system, which transferred the square 
Sround form, by means of pendentives (volume 1, Pig. 178) in 
the form of spherical triangles or trapezoids, to the base ri- 
ng of the dome, above the fornice of which rose the dome. Su- 
aller domes were mostly built solid and were not rarely cover- 
ed by e pyramidal roof, larger ones being erected in two shel- 
is (after the model of the dome of the cathedral of Florence, 
page 171), the external one chiefly having the purpose of pro- 
tecting ithe internal one from the injurious effects of the we- 
ather., Therefore the great domes became comparatively light, 
put by the proper stiffening of both shells secured nearly the 
resistance of solid construction. The grandest dome construct- 
ion of the Renaissance is represented by the dome of S. Peter 
at Rome. Michelangelo had arranged iron anchors in the drum 
in his model and iron rings in the dome, which were later inc- 
reased (now five in all). For a third of the height both dom- 
es are built solid as one; then they separate into a thick in- 
ternal dome end an external dome, which consists of a thin sh- 
ell extending between strongly projecting ribs and covered wi- 
th lead. (Fis. 210). In the hollow space between the two dom- 
es double winding stairways lead up to the lantern, then down 
asain to the main cornice of the inner dome. Only by these s 
stairways are the two domes connected together. With the vast 
internal diameter of 139.8 ft. (i.e., 39.4 ft. more than in 8. 
Sophia), the dome of S. Peter’s rests on a drum extended high 
above the roof of the colossal building at a height of 264.4 
ft. and thus attains to the height of 404.9 ft. to the eye ab- 
ove the pavement. Thus aside from the perfectly harmonious 
control of the material and its architectural subdivision, it 
appears as the srandest structural work, that the history of 


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architecture has to exhibit anywhere. 


TII. The Architectural Treatment. | 

Still more decidedly and expressively than in the construct- 
ion did the Renaissance apply itself to the architecture and 
decoration of the antique. It was then unavoidable, that at 
first only the most striking adoptions again found employment, 
freauently without organic propriety. The mediaeval arrangem- 
ent of the ground plan and proportions of the mass of the str- 
ucture yet continued for a longer time. To the facades were 
given a plinth as a base and a crowning main cornice, the wall 
surfece lying between them having a subdivision into stories 
by belts. The wall surface was suppressed in the Gothic as 
much as possible, but again entered into its rights as such a 
and was strongly eccented by rustication. fhe profiles of the 
belt and main cornices still show a very uncertain handling i 
in the first time; it finds the beautiful more by an unconsci- 
ous feeling of tact, than by a knowledge of the system. It is 
also at first less the correct and strong forms, than the hap- 
py distribution and the mass relations of the doorways and win- 
dows with their enclosures and the expressive development of 


/Pebbe wall surfaces themselves, which carry in themselves the n 


new elements of beautiful forms. To these are further added 
niches, balconies, bay windows, loggias, and at about the end 
of the early Renaissance, the entire antigue system of pilast- 
ers and columns with its orders for the supports and entablat- 
ures, and furthermore already at the beSinning of the Renaiss- 
ance, an extremely rich decoration by relief and painted orna- 
ment. 

The plinth in the early time chiefly consisted of slabs wit- 
hout mouldings and set on edge, in Florence of a low stone be- 
nch: in the high Renaissance, it was divided into three parts, 
after the model of the antique pedestal of a column.(Volume 1, 
page 126). The belts in the Florentine Renaissance were all 
continuous window sill belts with the profiling of the antique 
impost cornice; later they were lowered to the levels of the 
floors of the different stories, then receiving bolder forms 
with a tendency to the antique belt cornice. If bricks were 
employed for this, then slight projections were given to then, 


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169 
but richer ornamentation. In cities with increasing population 
one also meets with projections of the upper stories on round 
arches with consoles or directly on stone consoles, even if 
far less commonly than in the North. 

As a rule the main cornice adheres closely to the Roman mod- 
illion cornice (Gompare volume 1, Pig. 181; volume 2, Fig. 211), 
but it was also freely treated in wooden construction with pl- 
astering on reeds, as a great cavetto in combination with rou- 
nd arches and colored decoration, thus forming an extremely @ 
magnificent crown to the facade. 

The portals in the Florentine early Renaissance have a seni- 
circular top with a wide moulded enclosure. (Fis. 209). In 
Lombardy they are quite early enclosed by pilasters and even 


i, by candelabra -- columns with antique entablatures and rich 


ornamental work. (Figs. 212, 261). Instead of pilasters some- 
times occur in Genoa, Umbria and Rome half, three-quarter and 
full columns (Fis. 213), as well as double columns with figur- 
es and pediment or segmental caps, and also finally with proj- 
ecting columns, hermes or caryatids as supports for the balco- 
ny projecting above them. In the form and treatment of the w 
window at first there still reacts the mediaeval tradition. 
Fhey ended in round arches, frequently coupled by the inserti- 
on of a middle column. (Pigs. 215, 250). The profiling of the 
enclosure generally follows the antique architrave. In the bh 
high and late Renaissance the window chiefly assumes the form 
of a vertical rectangle. It is then preferred to crown it by 
a frieze and cap (Fis. 216, 173), whereby these frequently re- 
st on consoles. (Fis. 263). With a richer treatment of window 
enclosure forms an independent architecture of pilasters and 
columns with a parapet like a pedestal and an antique entabla- 
ture, on which rests also a pediment or arched cap (see wind- 
ows in Pigs. 151, 157). As in late Romaheartyclikewise in the 
Renaissance, niches with round arched tops, freavently decora- 
ted by a shell (Figs. 251, 222, 268), became a favorite motive 
for animating wsll surfaces and for the reception of statues. 
Balconies were not limited to a single window (Fig. 216), but 
freovently extended along an entire facade. (Fis. 26070 GEL % 
the face of the story above them be not set back, they were c 
composed of projecting stone slabs on consoles and furnished 


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8 edt to “eanuloo to atsb10" od¢ bsssaiteevat e1ssesm taatz0g ee 
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asoen? ed¢ tot efaomunom asmo% odd ao nyt0l mosaya od¢ Hoos 
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161 
with e railing, whose rail was at first supported by decorated 
slabs or little columns, but at about the end of the 15 th cen- 
tury by balusters, @ form of small free support exclusively be= 
lenging te the Renaissance, that indeed recalls the antique f 
form of the candelebra, but is here quite differently employed. 
Bay windows likewise occur in the Ttalian Renaissance, even if 
less commonly than in northern art. They appear in the South 
more as covered balconies. But so much the more common are 
loggaies, which already in mediaeval Venice form a design char- 
acteristic for the art of the city of the lagoons, and may we- 
ll from thence have found the way to the remainder of Italy. 


/£Afbey afford protection from sun and rain, give space for ae gr- 


eater number of persons, and thus so properly cerrespond to 

the Italian climate. The high and late Renaissance egain adop- 
ted @ motive intreduced from the antique, the attic (volume 1, 
page 107); this frequently increased to a separate low story 
provided with small windows (Fig. 236), and it eccurs in comb- 
ination with belustrade terminations and figure decorations. 
(Pig, 262). Fhe pediment first came into more extended employ- 
ment in the late Renaissance, yet more in church than in secu- 
lar architecture. Villas and the better class of dwellings o 
often received above the roof an addition like a portico, ter- 
med loggetta or belvedere, on piers or columns with architrav—- 
es end a low hip roof. 

Facade architecture attained e grander development about the 
end of the early-Renaissance and in the high and late Rensiss- 
ance by the odoption of the antique system ef pilasters and ¢ 
columns in all external architecture. Nearly all the more ine 
portant masters investigated the “orders of columns” of the a 
ancients and fixed their proportions. Already the learned Al- 
perti wrote 4 treatise, in which he fully expressed himself in 
regard to the columnar orders; the theorists Vignola, Scamozzi 
and Palladio did this later in a fart stricter sense. They t 
took the system forun on the Roman monuments for the Tuscan, 
Deric, Ionic, Gerinthien and Composite orders (volume 1, page 
108 et seq.) without substantial alternations, end thereby es- 
tablished a canon for the monumental treatment ef facades, wh- 
ich remained in force until the most recent times. Figs. 217, 


Pi 


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162 
243, 259, 262, 273 and 275 exhibit how, though somewhat unres- 
traified in conception from the beginning, the mature style gr- 
adually developed. 

Phe Renaissance worked out an endless variety in the forms 
of details. By an extremely capricious fusion of TIonie and Co- 
rinthian forms and the intertwining ef conventionalized and n 
naturalistic foliage with emblems, animal forms and figures, 
were produced new capitals for columns and pilasters in lavish 
abundance. (Figs. 218, 219). The shafts of the columns were 
richly ornamented by flutes, cabled or plein, by smail figures 
and festoons on the lower third, and evep with ornamental work. 
covering their entire height (Pig. 220), and likewise the pil- 
asters had vertical bands ef scroll ornaments in sunken panels 
(arabesaues: Fig. 222). With equal luxuriance were decorated 
the entablatures, the arch spandrels and even the pedes&als of 
the columns. The early Renaissance shows itself in this resp- 


ect more tolerant andefertile than the develeped style, by w 


which certain limits were placed for purely ornamental art for 
the benefit of the predominant architectural: effect. Beside 
the columns, piers with square, rectangular and octagonal sec- 
tions, can@elabra-columns, particularly in upper Italy, hermes 
(i.e. busts with supporting piers diminishing downwards, Fis. 
274),as well es caryatids and atlantes (Volume 1, pages 70, 82) 
found employment as free supports or as those attached to the 
walls. But the latter do not, as in the entique, have an ind- 


/ifferent pose, but as the supports of the balconies and ceili- 


nés, they oppese themselves with visible expression against t 
the loads resting on them. Since the great architects of the 
Renaissance were also seculpturs and also mostly painters, they 
had relief and painting at command, and they placed these in 
the richest measure in the service of architecture. 


IV. Internal. Architecture end Decoration. 
bike the antique in its time, the Renaissance transferrred 
in a similar manner the architectural system developed on the — 
facades also. te the internal architecture, so far as this cor- 


-pespénded to the intended purpose of the room. But in this 


church buildings did not come into consideration, or at least 
not chiefly. As a genuine “art of living”, their attention 


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“163: 
was devoted in egual measure to the palece of the noble and e 
even te the dwelling ef the well to do citizen, in order also. 
to give to it convenience, cenmfort and artistic beauty. Thus 
the great hells, reception and living rooms were then treated 
as impressively eas possible, and not only these, but also the 
-entrances to them. Since the state and living rooms were no 
longer on the ground level, as in the antique house, but lay 
in the upper story, the construction of the stairways rose to 
great importance. In these the Renaissance created new arch- 
itectural types almost without models. The narrow winding st- 
airways of the middle ages were only retained for the servants” 
and subordinate reoms. For the main stairways were chosen st- 
raight flights ef stairs with resting places (levels), conven- 
dient and low steps. The early Renaissance chiefly pleced then 
in one of the portices surrounding the court (Pig. 185). But 
the high Renaissance and yet more the late Renaissance erected 
spacious and inserited stairways as imposing show perticos in 
the great style, treated with costly materials, excellent seul- 
ptures and rich paintings on the walls and ceilings. 

: fhe fleors, in case they were leid on masonry ceilings (vau- 
lts), consisted of smwiple structures of terrazzo (i.e. bits of 
stone rolled inte a layer of cement, rubbed down and polished), 
in richer ones of Slezed clay tiles, marble slabs and mosaics; 
over wooden ceilings were adopted a simple board covering or & 

parguetry floor. 

With extreme richness end variety were the walls decorated. 
Qn them the great sculptors and painters, working together, f 
freouently produced results of the highest artistic worth. Wi- 
th execution in relief the architecturel subdivision of the w 
wall was always treated according to the antiaue principle wi- 
th plinth, a row of pilasters, whose corneces and panel’ encl- 
osed in the ‘intervals formed the basis. The members, frieze 
and panels received a rich relief for painted ornamentation, . 
whose charm was based on the refined graduation of the archit- 
ecture and ornament, and the pleasing treatment of the details. 
(Fis. 222). Likewise in exclusively painted decoration the 
conception is chiefly architectural (Fig. 223); plinth, piles- 
ters, frieze and cornice were still painted in simple colors 


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si atstioo aatltsverq ¢lisntaixe sds bettimo sia anit susa edt 
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_» deotroteiey Sesnase ot: eosqa 2batt anttaieq doidw at .afsasq 


——— Le eC 


“164: | 
‘in the 15 th century (Srey on gray or brown on brown), but la- 
ter is varied treatment. Instead of a facing with the nobler 
kinds of stone or with stucco usually appeared wooden paneling, 
either in almost the entire height of the walls, so that above 
the cornice only remained space for a painted frieze as the up- 
per terminetion of the wall, or as @ high parapet. In secular 
buildings the walls in reoms serving less for state purposes 
were almost entirely hung with febrics, stemped leather and wo- | 
ven fabrics, and finally were covered by painted or printed pa- 
pers. 4s special show pieces were the mantles treated. They 
had an architectural construction with pilasters or columns, 
sometimes elso with atlantes as supports of the cornice and ¢ 
crowned by caps like pediments or by coats of arms in relief. 
If the ceilings consisted of horizontal layers of heams, th~- 
ey were treated as coffered ceilings, either by 6 ceiling on 


/&pthe beams and the placing ef bands, or by timbers inserted be- 


tween the beams and correspondingly covered by paneling and 
mouldings. Prototypes for these existed in the portico ceil- 
ings ef the antique,(Volume 1, page 65), and in the coffers of 
Roman vaults. (Volume 1, page 113). In the Benaissance these 
ceilings were freauentiy enclosed by rieh carved werk, peainti-“ 
né and ¢ilding to transcendent splendor. The panels (coffers) 
were originally square, later hexagonal and ectasgonal with tri- 
angles lying between them etc., and shaped in ster forms. In 
the late Renaissance (first in the Doge’s palace at Venice, af- 
ter 15:0) the uniform division into coffers was abandoned in 
favor of a large middle panel enclosed by a wide gilded frame, 
and containing figure compositions of the grand style in nata- 
ralistic colors on the background. By these the design ef the 
interier was elevated, and the impression was created, that t 
the ceiling was perforated, permitting a view of ideal archit- 
ecture and landscapes, varieusly celored figure greups and the 
like. Tn well caleulated graduation then the paintings of the 
subordinate panels are kept in a single color ‘(in brown, gray 
or a bronge tint). bikewise on the vaulted ceilings of about 
the seme time are omitted the originally prevailing coffers in 
faver ef a similer division ef the surfaces of the vaults into 
panels, in which painting finds space for earnest historical. 


Pee 


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oviteto99b doti edt of betlqas s1ew atetiea aoaim sd? walled | 


“165 3 
rpepresentetions, as well es for the development of rich ornan- 
ental magnificence. 

/SY Fo the ornamental arts fell en infinitely greater importence 
than as in the middle ages. The enjoyment of ornamental: work 
had become more intensive and general. With spirited recogni- 
tion were pursued the works of sculpture, ef painting, and of 
the minor arts; they were then prized more for merely esthitic 
enjoyment than as mental representations, though pleasing to 
the eye. Thus figures and scenes from the ancient myths reap- 
pear as favorite motives and even penetrate into consecrated 
places. fhe high nobility of form of the antique art became 
again the chosen ideal ef the Renaissance master. Yet formal 
beauty indicates only one basis of their artistic creation, i 
indeed not one of the most important. The ain of the Renaiss- 
ance lies in an expressed realism, which instead of general t 
types sought to present a picture of the actual world with the 
diversity of individuals by the strongly emphasized expression 
ef character and impulse in the face, figure, movement and clo- 
thing, with the entire surroundings in space in complete truth. 
to life. Therefore sculpture in relief produces @ representa- 
tien of the figures with azchitectural and landscape backsgrov- 
nds viewed in perspective (Fis. 225), and it sometimes even t 
takes into its service the sister art (by painting and gilding 
the whole or certain parts). This fresh conception of nature 
is especially peculier to the works of the Quattrocento. In 
the high and late Renaissance occurs -- in relief core than in 
painting -- among the conscious antique tendencies, the gener- 
alized endeavor for purely formal. beauty again becomes strone- 
er in the foreground. 

Monumental sculpture received its chief problem in the prod- 
uction of figure decorations by statues and reliefs for facad- 
es (on portals, in niches, as crowning roofs), in the internal 
architecture of churches (on altars, pulpits, tombs and the 1 
like) and of palaces (on stairways and on mantles in the sreat 

/e¥ balls). he minor reliefs were applied to the rich decorative 
ornemental werk. Its conventional development proceeded aeco- 
rding to the tendencies mentioned above. All technicel netho- 
ds were included in the demain of activity; sculptures in nob- 


mc? ery omsosd oooute at bas emote at sistalaos boos 


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| Ate ae aa ie 


186 
ypoble and common stones, in stucco, bronze, terra cotta and w 
wood. Sculpture in stone end in stucco became general, the 
first chiefly in external architecture, the latter (after the 
middle of the 15 th century) came into use in the internal. or- 
, namentation. casting in bronze reached high perfection. Alr- 
eady with the beginning of the early Renaissence, the Florent- 
ine Ghiberti, a contemporary of Branelleschi, had created in 
the eastern bronze doors for the baptistery at Florence one of 
the most famous masterworks of sculpture. (Pig. 225. *). Terra 
cotta, likewise by a Florentine master of the Quattrocento, 
baca della Robbis, was elevated to a new species of sculpture, 
when he produced his figure reliefs in medallion form in colo- 
red glazed clay in an ideal beauty of treatment of form and c 
color. An important place was further taken in the Renaissan- 
ce by decoration in wood, both in a purely architectural use 
(supports, cornices, frame enclosures etec.), as well as in we. 
wood carvings. Their execution occurred partly in the round , 
partly in high and low relief, or lying entirely flat an the 
surface as inlsid@ work, or es intarsias (marquetry). This 
technical procedure was already proved in antiquity; it was a- 
sain revived in the middle ages and reached the highest perfec- 


/o) tien in the early Renaissance. The method of execution consis- 


ted in laying thin veneers of different woods ®m~each other, 
ivory, mother of pearl and metals, then sawing them out at the 
same time, properly interchanging them, glueing and laying th- 
en. The drawings still consisted of geometrical =patterns in 
the middle ages, almost always in black and white, but after 
the beginning of the 15 th century were ornaments, architectu- 
ral perspectives, landscapes, and even representations of fig- 
ures. 

‘* Fhese doors contained in 10 panels figure reliefs, whieh 
pPepresent seenes from the Qid Testament, from the creation of 
man enwards. Hiehetangeto was so enraptured ‘by thetr beauty, 
that he said, that they ceuld stand at the gatee of paradise. 

To monumental painting fell the rieh colored ornamentation 
on ceilings end walls. In the 15 th century it ehiefly sought 
to imitate architecture by a celored coffering of the vault c 
compartments and architectural perspectives with garlands ete. 


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“£67 


‘on the wall surfaces. The larger mural paintings were enclos- 
ed by bands of ornament, that are again interrupted by smaller 


paintings cOntaineduwithin circles and polygons like medallio- 
ns. in this manner the meaning of the great paintings was br- 
ought into harmony. As the technical method, fresco (volume 1, 
page 125) almost exclusively came into use, which showed itse- 
lf to be very suitable and durable for the internal architect- 
ure. hikewise on the facades the enjoyment of artistic decor- 
ation frequently no longer left free the plastered surfaces be- 
tween windows and cornices; they were then covered by ornamen- 
tel or figure paintings in fresco or in the more durable sgraf- 
fito. In the latter case the wall surface first received a d 
dark (mostly black) background, ‘then'a thin white or light, yel- 
low coating over this, in which by means of properly shaped p 
points and scrapers, the design was produced by removing the 
coating in lines or spots. Thus had been obtained a facade 
painting, which was as durable as even the plastering itself. 
Gikewise chiaoscuro (“light-dark”) frequently came into use, 
a@ painting with but one color on the wet plaster ground. — 
About the end of the 15 th century, suggested by the discov- 


. ery of the Baths of Titus in Bome (volume 1, page 114), was 


ie ias\ 
Se 


perfected a great transformation in the decoration and indeed 
chiefly in the ornamentation of the internal walls and -ceilin- 
gs. In a variegated altemmation end combinetion ef stucco wi- 
th painting were interwoven, starting from the antique protot- 
ypes of “grotesques”, ornamental motives of all kinds, human 
and animal. forms, fabulous beings, implements of technics, art 
and science, fanciful architecture, events fron mythology, po- 
etry and history, also landscapes, often enclosed as small pre- 


gares within delicate frames of stucco, with ornamental work, 


especially acanthus scrolls, garlands of fruits and foliage, 
bands and knets. The most .charmins forms and celors were thus 
enchanting in a blooming and inexheustible artistic imaginati- 
on, which combined the separate pictures into a rapturous play 
on the wells and ceilings, controlled by the most refined feel- 
ing for a cheerful and ornementel effect. All details were ex~ 
ecuted in perfectly graceful drawings; the whole covers the's 
shafts of the main and subordinate pilastess and their bands, 


ifao bas ditcts asteq adf to ibeneiivikn edz ea (low es 


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168 

as well as the enclosures of the parts of wall and céiling in 

an entirely flat character, so that these decorations join in 

the general effect. By this method Raphael and his followers 

and pupils finished the logsias of the Vatican in Rome (1513- 

1519), thus creating the most beautiful and artistically inte- 
resting porticos in the world. (figs. 226, 227). heir style 

ef decoration thereby ettained to classical importance. 

Besides this ornanentally conceived decoration, there conti- 
nued in use in the high Renaissance the decoration of walls a 
and ceilings by great paintings. Yet in accordance with the 
antique tendency of the time, the relief element in decoration 
became stronger, in order to produce a greater harmony of the 
subdivision of the wall with the architecture. The colored o 
ornamentation on the walls thus gradually receded in favor of 
the purely architectural ornamentation. Phe late Renaissance 
finally limited it in great part to the ceilings, indeed there 
to the large paintings in the main and some side panels (Fis. 
224), while the others were left in white stucco and partially 
Silded. The tendency toward relief dominates even painting, 
which freouently falls into the imitation of architecture, se- 
ulptures and statues. 

On facades after the beginning of the 16 th century, painted 
ornamentation already receded. hikewise there the essentials 
of the structural appearance censisted of the architectural f 
framework with the sculptures. Finally Renaissance decoration 
appears in complete dependence on the architecture end sculpt- 
ure, certainly designed to enhance their pompous effects. 

In ornament the basis wes formed by antique ornemental: moti- 
ves and decorative forms, the Roman acanthus with its foliage 
and seroll work in combination with vases, candelabras, masks, 
cornucopias, trophies, bands, wreaths and garlands of flowers, 
with interwoven representations of figures, together with frets 
and wave lines. The foliage was taken from the native plant 
world and treated naturally or conventionally, in the latter 
case in direct connection with the antique. The masters here 
proceeded ‘very properly, when they shaped leaves and scrolls 
to be executed in marble, differently from those in wood, and 
those in. terra cotta again differed from bronze foliage. Pu. 


S$) ar 


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bas  abatd yo Setemtos slodw edt .eisaiae to getase s wollot a0 

‘te te0k bas ebaed .eanted evoludat a6 ifow.eas .2lamias tadt0 

_ AS8S,.8f9) .dsow tustq edt otak eesq vltesitd dotdw .aismias 

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fot Isaotsa bas. bosilsaottasvaeo; vd detneusaxo sx8 bus 2o0td 

edt at bevtsoss yoserls taeusar0 aid? .xirow [foiog bas sas 

-sis” to sotssilagqs etstigo1qqs yvlfosxes sou eat ofae90173809 

bas dd Gh edt at berseqas #I «(SIS ga6eqg .f sugfoV) .“aaupaed 
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wort a1istitbh ylistsaseas tt bas .snit odt to sis 949 to tle 
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qifsteae8 aofttetocsd sosiuse ¢ ayawis ¢f agegsdsia odT .otaso) 


befoeagos ,a1iLitt .mAtyda [eotasemoas of gatbi0e:90s. 69808118 
-tofies at betuosxe ziisaigtio esw dotdw .tlseti vd anfwork bas 


bas sv00! 8 etasas199% t9dds1 scpesto1g odd Tua .( 833 ath): 


atil bas sisdsa .f18 wo1t 2avicom edv To Josmeaaeias Lvigonat 
-ofa Osmei1i dviw diow [ssasmanto to aoitanies{ea lasaitaos 8 at 


“19 to soitsxidmoo s as. betyooxe .2bletde.tea anotilsbem .asasd 


~o18 on? «(FSS 828) .aattaiag tjiw ooouta mb terlet istaousa 
Si nedw ,9ay betsy siom ylotiattat as deoaatieaxs oals auggaad 
+ Yo te¢oeIsd9 edt Oas aeme1t sit od Seavotateo1 1948901 on asw 
“tou 19818f 1evo bebasdae oais sod . godt agetlet edaemea1o sad 
(63S .8¢9) .e3atifes satta9 aeve bas elfaw odd lov anois 

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“169 


Purest in drawing and execution appear the ornamental forms ¢ 


chiseled in marble; for these are especially characteristic a. 
again the panels cut in the pilasters instead of flutes. (tej- © 
ected from the first in the Renaissance). fhe latter rise fr- 
om flower corolles or vase forms as organic combinations of ¢ 
conventionalized leaf forms, particularly ef the antique (Rom-— 
an) acanthus and its interlaced scrolls (volume 1, Fig. 138) 
with naturally treated forms of all. kinds, leaves, flowers and 
fruits, thet either form a single stem of candelabra-like flo- 
wer stalks growing above each other with corollas and vases, 

or follow a series of spirals, the whole animated by birds and 


other animals, as well as fabulous beings, heads and feet of 


animals, which dire¢tly pass into the plent work. (Pig. 228). 
Other panels consist of trophies, weapons and coats of erms, 
that are grouped together with objects of the most different 
kinds, and are ornamented by conventionalized end natural fol- 
iage and scroll work. This ornament already received in the 
Quattrocento the not exactly appropriate appellation of “ara- 
besques”. (Volume 1, pade 214). It appeared in the 15 th and. 
the beginning of the 16 th century as a nearly independent :re- 
sult of the art of the time, and it essentially differs from 
the *grotesques” occurring in the first quarter of the Cinque- 
cento. Phe arabesque is always a surface decoration generally 
arranged according to geometrical rhythm, filling, connected 


and growing by itself, which was originelly executed in relief. 


(Pig. 228). But the grotesque rather represents a loose and 
fanciful arrangement ef the motives from art, nature and life 
in a continual alternation of ornamental work with framed pic- 


tures, medallions and shields, executed as ea combination of or- 
nemental relief an stucco with painting. (Fig. 227). The gre- 
tesque also experienced an infinitely more varied use, when it 


was no longer restricted to the frames and the character of t 
the ornaments filling them, but also extended over larger por- 


tions of the walls and even entire ceilings. (Fig. 223). 


After the grotesque ornament had reached its cilmax in the 


Vatican loggies, it rapidly receded. The decorations created 
with refined and tactful feeling in perfect harmony by an art 
caprice adjusted most happily must lose their charm, as s¢on 


- etatostidors ot to daiietttanbned 39398 ofc b9db9 asw aids oF 
fea wt oe dotdw. .tostts Lequsourta Le19a90%8 403 basoluolsd 
-stebfeqdoo ofar 9m0o ton 646 atetaoeds otsvea adt to alton sig 

bas ,2elitota asi at ylavototiaso seomla detana109 ean .70re 
gt ot betLlags rohnol on asw eanids [eudtvibat tot avol sac 
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wi Seteviesa ylluteiso os .Jasasat0 s1yq bas g1sktt asenwtod ano 
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otk ’jseatl to eetisa aselaeteastaxs bos sonIetteq 8 ofat LIfot 
‘dt aud? .teflet ab bodsolievo altass6 to saeutesys yvasd « 
od? af taetat ottedsae ati ba8 sonsttoamt ati te0l avisatooed 
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“9 9dt To Sulassd3ied scolsauisa sede tot sviage geua baa sa0t 
peed dt to satfest evotreqms edt bia bluoda ssadt .tootte 

| eee ere etel odt ak agogqmog ad? biswot batos1tb 


24908 {siusoetidowd sdf .V 


a -hewie otedossidoid domad .A 

7 “siseqgs sid 38 dotwdo asitatadd odd at aslorte sasntmob oP 
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tat? gs toa bigoo yods dads tae To nottaqsodo9 Lavestbsa saa 
<aeitsaissls dentener yodT \.katbasteqasbag ([ivt s dfiw ti fasm 
.5 yods If seve. tasmevom wan odt Stewot aisdassay bas Saivasy 
“yonsbust bis stugtea sifvae” ati ylbedtoes taom seoqao soa 6rd 
~asd youebmet [susoolletat suvo1skasb 3 as matasaud te dada bas 
o=¢f S8ntaloxe bad gonseaisned edt i9¢%s ta .ewaiv as88q ao bs 
_ * {OSqsa dsmok edt .ytisotem ristseo 8 \benoas1 bad bas tise 
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“bf lo eforto Isoittasteefoos ods ai sonseatsaeA saivass adt to 
~[st9a98 6 ofat sebt Iavesibem betimil edt to aoteaetze as ase 
tutsisger edt to sve beh asw tus Lsottasigeloog ydaied? ® wvdi 
 stsitqovags aviverene peed 8 ofat ator ri bltow ofdto® sat to 
H anegang hese fan So)0 . Jowbt ods cot 
imahiens acs Penuh eMorlsatate 495 stWotdoesss sunk * | 

jidois dowdo yd bsonsiasgxe asitsveaat tastcoart taom sa? 


. 


170 
as they were transferred in a merely imitative way by less sif- 
ted artists to areas, for which the originals were not intended. 
To this was added the great predominence ef the architecture 
@alonlated<feriaigeneral structural effect, which so far as t 
the works of the severe theorists did not come into considera- 
tion, was corrupted almost capriciously in its prefiles, “and 
the love for individual: things was no longer epplied to the 
details, but was based on their former treatment. The relati- 
ens between figure and pure ornament, so carefully adjusted in 
the best period, between stucce and color, area and frame of 
the picture, became variable and uncertein. The composition 
fell into a patterned and expressionless series of lines, into 
a heavy treatment of details overloaded in relief. Thus the 
decoration lost its importance and its esthetic intent in the 
same measure, in which the architetture passed into the grand- 
jose and must strive for that scrupulous heightening of the e 
effect, that should aid the imperious feeling of the owners, 
directed toward the pompous in the late Renaissance. | 


19 4 V. Phe Architectural Works. 


A. @burch Architecture. 

Fhe dominant circles in the Shristien church at the appeara- 
nce of the Renaissance were still: too greatly embarrassed by 
the mediaeval conception of art, that they could not at first 
meet it with a full understanding. They remained alternating, 
varying and uncertain toward the new movement, even if they d_ 
did not oppose most decidedly its “entire nature and tendency” 
and that ef humanism as a dangerous ‘intellectual tendency ‘bas- 
ed on pagan views. But after the Renaissance had explained it- 
self and had reached a certain maturity, the Roman papacy -- 
and this merits special consideration -- saw in the “adoption” 
of the genuine Renaissance in the ecclesiastical circle of ‘id- 
eas, an extension of the limited mediaeval ‘idea ‘into a generel- 
ity. © Thereby ecclesiastical art was ded out of the restraint 
of the Gothic world of form into a freer activity, appropriate 
to the time. 

* Kraus. Geschtehte der echristliche Kunst. 

The most important innovation experienced by church architec- 


* i F Ue 7 ‘3 : alk - 
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sg vitea .osm0§ ent to aststouxts (enokyleq bas basor sdt at.atoe 
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Hd asitetadd edt t01 {ebom tool199 te0m odt .2oys aisdt s10ted 
-bapolian bas vtiaw .saentso%8 bebtoltts eink * * bok to sanos 
“S2081%8 eidsiovsi t2om eds .yotistai odt Yo avitsero 94t at yt 
~ftedai odt ic aoieividduse ascinowisd s bae .tdeil sdt io taan 

¥9 beteveo goo ofbbta dgid ant ¢i nl .tetaesxe sdé to bas to 
<bnwOt~s ao botoexe .Ratblind edt to aveioun act bamict smob s 
sedttooebbs asw dotdw of 598.8918 bavorg sisu9a 10 (saogylog 
ods to [60m od¢ ot Ratby0058) amis ee01p betiusy Isaqus thot 
“ito 8 10 ,2elsis te¢s0 .(88f ohea .f smufov idoigdo saitassya 
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~asaetene daid sd3 to adtow tetdo odd wort sdies bas -= yosna 
meteys asoff{iasd ad% t9evo otsaimobara sono tom bib Gi ~- 20 

o@ tot acivibeit beiose sds déiw botosasce gead bad sint co8 


“ad adv bad ti dsdt ,Sezaetqoue sd ot sabi ods 10k 248904 vasm i 


| atdt of .antbliod doredo asttaiadd od% to stot sia baa on 
~ios 8 betaesectqe: [Lite sistogise Isataeo ods tads .pbobhe esx 
fe daomegasiae odd Jadd .Bisadi at desoiatasr ylanoita ood ama 
88001 etsabdt0duva fas eleasdo to mottibds odd bas rofyetat ada 
| “gg bssala ao90 dofdw ao .e6e0si odd to snemaolevsd aert « dtiw 
 ,eidsnovet as asedds ton bib .ex10tsdeaa 2brsewistts oulav Lsitoe 
| ‘ dareveo yilstaosiaod 43 9bf20d s°onsesteaee ylise sdt at aon? 
-ato0tiod [sigae0 edt beyolsaved asw sotiiasd ostlusvy 33019 10 
. ~oW edd af Qnthlisd dowsds to mot usa s elodw adt ao auied as 
+1608 ,deedRfd adit soaegeisaod daid edt at beatstis tit basa te 
| OF 9ms9 98 90aseatsaea ota! sad al .aottoataeo eiutoade vi 
-feumem odd at soittasd sdé asia suroited Leartauss adt satdaoo 
“it bas atedo edt Yo agteeb edd 10ot a9R0d9 agw remot a4? sda 
- “Wd soasaatsasa edt el{egbivionl .ever e@ yd bentotbs ase ai 
bas asia bavora 9d af agoitsiisv bebieed teom odt oved asdo 
4 Yo aodtser9 Settiny add ef ottatretosmsio evewls taoitevels 
<80deeasis efd 10 .sete Lattaso eft 19v0 emob edd ,toirstai sat 
=) .90as2atsned edt 03 tetlv0eq aataye Lsautostidors edt ba8 
«datos to somtob Attu sassioutts Jovinee oft ylgnoate wok # * 


‘E71- 
architecture in the period of the Renaissance consisted in th- 
is, that men no longer held themselves bound to the ritual ba- 
Silican system, but saw in the central ouilding, whose precur- 
sors in the round and polygonal structures of the Roman, Barly 
Christian and Romanesque periods still in great part remained 
pefore their eyes, the post perfect model for the Christian 
House of God. * * This afforded greatness, unity and uniformi- 
ty in the creation of the interior, the most favorable arrangé- 
ment of the light, and a harmonious subdivision of the interi- 
or and of the exterior. In it the high middle room covered by 
a dome formed the nucleus of the building, erected on a round, 
polygonal or square ground area, and to which was added either 
four tunnel vaulted cross erms (according to the model of the 
Byzantine church; volume 1, pase 188), outer aisles, or a cir- 
cle of chapels. Yet the central design did not exercise supr- 
emacy -- and aside from bhe chief works of the high Renaissan- 
ce -- it did not once predominate over the basilicen system. 
Bor this had been connected with the sacred tradition for so 


/), many years, for the idea to be suppressed, that it had the tr- 
ge and pure form of the Christian church building. To this 


was added, that the central structure still represented a sch- 
eme too strongly restricted in itself, that the enlessement of 
the interior and the addition of chapels and subordinate rooms 
with a free development ef the facade, on which men placed sp- 
eCial value efterwards as before, did not abbear as favorable. 
Fhus in the early Renaissance beside the horizontally covered | 
er cross vaulted basilica was developed the central building, 
as being on the whole a new form of church building in the We- 
st, and it attained in the high Renaissance its highest, near- 
ly absolute perféetion. In the late Renaissance men came to 
combine the central building with the basilica in the manner, 
that the former was chosen for the design of the choir end th- 
is was adjoined by a nave. Individually the Kenaissance chur- 
ches have the most decided variations in the ground plan and 
elevation; always characteristic is the unified creation of t 
the interior, the dome over the central area, or the trensepts, 
and the architectural system peculiar to the Renaissance. 

* # How strongly the eentral etructures with domes affected 


* 


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7 


° » 
Bay * 
A a! > | 


172 
the mastere may be seen, tn. that such already tn the earliest 
time were represented with very parttcular faver an the back- 
groumas of thetr altar paintings and reliefs. 

For buildings with naves the three aisied basilica, ‘as it " 
had been developed in Romanesque art with its proportions. of 
masses in the width of the middle and side aisles, formed the 
basal scheme in the arrangement of the supports and the divis- 
‘ion ef the bays of the vaults. fhe vaulting was either execu- 
ted in all the aisles or only in the side ‘aisles, while the 
middle eisle either received a horizontal wooden ceiling, ‘or 
if even more rarely and scarcely except in the early Renaisse- 
nce, the visible woeden roof framework. The Renaissance gene- 
rally continved as being opposed to the ball type. The ichurc- 
hes of the Orders strove for simplicity and were mostly single 
aisled with a row of chapels at both sides and a horizontal ¢ 
ceiling. from the middle of the 16 th century onward such sin- 
gle aisled churches were also preferred for parish churches a 
end were vaulted, either with a tunnel vault, intersected by 
the cross compartments over the windows, or by flat domes, ar- 
gvanged along the longitudinal exis. hese single aisled chur- 
- @hes extended by rows of chapels at the sides finally became 
the prevailing type of catholic church architecture. The tow- 
ers (Fig. 220) in Italy in the time of the Renaissance also 
chiefly stand detached beside the buildings only in the 16 th 
century were they sometimes arranged in pairs and «included in 
the composition of the church. Particular attention was devo- 
ted by the Renaissance to the sacristies, which were anranged 
on the northern side of the church in the angle between trans- 
ept end choir, for the safekeeping of the church vessels and 
vestments, for the library, and as a waiting room for the cler- 
gy, before and after divine service. They are mostly additio- 
ns, indeed being preferably treated as small central structur- 
es and are frequently very richly equipped. (Pigs. 222, 230). 

The structure for single aisled churches shows a subdivision 
of the walls by pilasters or engaged columns with arches turn- 
ed between them ever the chapels or the window openings. Por 
designs with several aisles columns appeared at first and in- 
Geed principally in the early Renaissance as supports of the 


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a “-ol strait -2 90 ot beda edd to acttsatmres edd a5 séulov odd 


173 

walls of the middle sisle with ceilings with the antique subd- 
‘ivision by beams and arched forms, er octagonal piers were en- 
ployed in their pheces. In the high and late Renaissance the 
‘internal free supports are tostly in the form of square ‘Piers 
(fig. 231) with half columns ‘or pilasters projecting from the- 
ir sides, to whieh corresponds a similar subdivision on the w 
walls. From the piers frequently rise cross arches, which sp-’ 
an the aisles and divide the ceilings into bays. The walls in 
northern Italy often exbibit the natural rubbed gendstonep or 
they are satisfied with white plaster; but in the South they 
show a rich magnificence of color. mphe decorative equipment 
of the interior reaches its climax in the altars and particu- 
larly in the tombs, that exhibit the contemporary longing for 
fame: these in structure and in detail forms are treated in 
aceordance with the architectural system of the Renaissance, 
and they are developed with very particular care in their pai- 
nted and relief decorative work. | 

fhe external architecture at first retained the mediaeval 
syste with anew clothing in the Renaissance forms. As “in t 
\, the middle ages, it was chiefly executed later by facings, * 
and was limited principally to the front facade, the ‘choir and 
the dome. The sides remained in the early Renaissance entire- 
ly plain without any subdivision: first in the course of the 
16 th century did they receive a modest and similarly treated 
coating of plaster. The main facades at first Iollow the ant- 
igue elevation of the Roman triumphal arch with an order stand- 
ing on a high pedestal and with a crowning pediment. (Pigs. 282). 
Later (first on the cathedral ef Pienza in 1462) the church fe- 
cade was chiefly arranged in two stories, perhaps caused by t 
the requirements of obtaining an elevated logsia for bestowal 
ef the blessing. The architectural development of the facade 
for basilican designs presented ‘many difficulties, in that a 
satisfactory ending in the front facade must be given to the 
low shed roofs of the side aisles. The problem was most simp- 
ly solved by attaching a half pediment(with inclined ascending 
cornice) to the front wall of the middle aisle. For curved r 
roofs the quadrant was indeed also employed. ‘Alberti chose t 
the volute as the termination of the shed roof on S. Maria No- 


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Novella in Flerence (completed 1470), thus creating a motive, 
that the leter Renaissance frequently employed, often superfl- 
vuously. With such a form of facade the cross section is expr- 
essed in a facade but slightly or even not at ell, and theref- 
ere it is only satisfactory in a slight degree. Happier are 
the solutions, in which the facades directly terminate in the 
form of the roof, indeed in a half or quarter circle, as ons 
some churches ‘in Venice and on the islands of the ‘Adriatic. Sea. 
(®ig. 233). In the treatment of the portals, windows, cornic- 
es and the like, the developed Renaissance adheres always to 
the classical ground principles, but eat the same time with the 
same richness as in secular arnhitecture. 

® By fer the greatest number of the Italian Rencissance chur- 
ches hawe mever been completed externally, but have rematned 
tz the reugh construction. 

/7? Monastery designs were allied to to church architecture aid 
retained the mediaeval greuping ef the buildings, but by the 
beauty and variety of the portécos around the courts with col- 
umes and piers, they again attain te e peculiar artistic impor- 
tance. fhe monasteries of higher rank are usually extended ‘a 
architectural designs, which compete in the equipment ef cert- 

ain reoms with the churches and the palaces of the great. 


B. Secular Architecture. 

fhe great Italian palace structures in the early and high R 
Renaissance still permit the endeavor ef the ruler to be recog- 
nized, in consideration of frequently very stubborn opposition, 
to overpower rivals, leagues, cities and influential families, 
and te eare for his personal safety, when he gave his residen- 
ce the form of a palace indeed, but otherwise protected it. 
‘Phey surrounded their castles.by moats and walls, built defén- 
Sive towers at the angles, as well as also selecting a site 
protected by nature. First in the late Renaissance such arre- 
ngements were omitted. The ground plan varied in most ‘of the 
building problems, but from the beginning ‘onward it always fo- 
rms a building erea in regular seometrical (rectangular or ev- 
en polygonal) form enclosing one or more internal courts, whi- 
ch always evidence a constant endeavar for suitability end con- 
venience. 


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Fhe palaces at the iwakties already had a regular plan in the 
Gothic period (page 163), which was also retained by the Rena- 
‘issance, and was further developed in its tendency to comfort- 
able living and to show. In the different architectural regi- 
ons were developed individual peculiarities. The earliest ty- 
/jpe is the Florentine -Sienese, which has a determining import- 
ance for all Italy, particularly by the advantages of its form 
of ground plan. The ground plan groups and indeed the halls 
for each purpose, among which ere dining halls for each season. 
ef the year, house chapels etc., as am the antique house, ero- 
und an uncevered court surrounded by portices, from which are 
entered the rooms arranged am the ground story. Zn the apper 
stories sre found closed corridors over the porticos, from wh- 
ieh doorways lead into the halls. To the designs of stairways 
end the treatment of the facades have we already referred on 
pages 184: and 179. bikewise in Urbino, Ferrara and the Bomag- 
one the palaces follow the Tuscan model, also in Bologna, but 
there with the peculiarity, that the facades in the ground st- 
orysrext the streets are interrupted by continuous arched por- 
ticos. 
fhe Roman palaces take from the Tuscan type the ground plan, 
‘but in the treatment of the facade are inclined to an express- 
ed architectural treatment, as indeed best characterized by 
palace Farnese. (Figs. 251, aii, 258). he chief stress is p 
placed on a grand effect of the court, on which the epen colu- 
mnar or pier porticos frequently extend through several stori- 
es. The late Renaissance introduced in the facades in Rome 
as also elsewhere, ‘particularly in Vicenza, Genoa, Milan. ete., 
the “colossal order”, i.e. a row of great columns or pilasters, 
which extend through all the stories from the plinth to the 
main cornice. (Pigs. 235, 273). Thus especially 6n the impos- 
ing facades of Michelangelo and Palladio the pseudoperipteral 
eceolonnade of the late antique again appears also gn the late 
Renaissance. 
‘In the Venetian paleces is expressed a strong reaction of a 
mediaeval art. The design of the building firmly adhered to 
//9 the scheme developed by the Gothic. (Page 164). The chief at- 
tention of the master in the city of the lagoons was paid to 


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‘176 
the ornamental, that in the time of the early Renaissance sti- 
1l chiefly assumed Gothic forms, but later a splendid columner 
architecture with e cheerful intent. 

Villa architecture took an important place with the general 
enjoyment of nature and the expressed inclination to staying 
in the country from the beginning in the Renaissance period. 
Men already early distinguished between the proper country he- 
ase intended for a ‘Lenger residence and the “suburban ville”, 
a pleasure house located before the city for slight or transi- 
ent eccupancy. The ground plan had generally a symmetrical d 
design, in which the rooms were Srouped around a rectangular 
er circular central hall. Since these buildings in the count- 
ry were not intended for a development in height, they were 
mostly one story. fhe servants hed their rooms in the cellar 
. story or in the upper “concealed” half story (mezzanine) in + 
the late Renaissance, which in the time of the theorists also 
came into use in the palaces more and more as intermediate st- 
eries. The suburban villa was preferably placed on a gentle 
slope; it was invitingly end cheerfully treated. 

In the high and late Renaissance greet importance was ‘<ttahe- 
ed by the garden and park designs connected with the villas. 
Tn direct connection with the ville was a show garden (Pig. 
237) adorned by terraces, balustrades, flights of steps, foun- 
teins, cascades and sculptures of all kinds, accessible by mag- 
nificent gateways and with picturesque perspective views ef d 
distant hills, cities and villages. In these Italian gardens 
predominated architectural lines, in contrast to the “English” 
gardens preferring free neture (see volume 3), and the former 
strove for a harmony with the buildings; they were convention- 
alized designs subordinated to the architecture. 

The dwellings ‘in the cities, like the palsees, adhered to t 
the antique ground plen eas much as possible by grouping the r 
rooms about @ ceurt, surrounded if possible by porticos on one 
or more sides. The dwelling generally was in the upper story; 
the ground story being chiefly utilized for shops, stables, ‘¢ 
coach houses and the like. For officials, artists and learned 
men houses for rental were erected already in simple and some- 
times ‘in rich treatsent. 


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? 277 
Contrary to Alberti’s reference to the advantages of curved 
streets, * the city lay-eut preferred a straight course for 
the streets. The more important cities competed with each ot- 
her in the straightening of the streets and the preservation 
ef continuous lines of houses. Everywhere men looked after o 


),/@btaining larger open squares, surrounded by sale booths and 
airy porticos. These and the. streets in the more eminent por- 


tions ef the city were paved, ‘and the churches and public bui- 
ldings were surrounded by raised walks. 

* He said that the city appears larger, the houees present 
themselves ta the eye with variety, shade was then wanting tn 
no street, the wind wos stepped, and defense egatnet enemies 
was made more easy. Pc 

Ameng public buildings the city halls stood in the tonaanar- 
nd,(in Ttaly chiefly named palazzo communale, municipio, del 
consiglio, della regione etc.). In the early Renaissance they 
still have the castellated appearance with defensive galleries 
and battlements, but later are buildings like palaces with a 
regular arrangement of windows, widely opening entrance halls . 
(Fig. 239), great stairways, large balls for assemblies and 
sessions, with wide corriders for access to the halls, and the 
smaller working rooms and the house chapel, seldom wanting @R" 
the city hails. 

fhe universities (page 156), high schools, and which chiefly 
jurisprudence and mediciae enjoyed a high regard in the Renai- 
ssance period. They retained in the early and the earliest 
high periods the traditional cloister plan, which also corres- 
ponded to the antique arrangement, and a suitable grouping of 
lecture halls and rooms around a guiet court enclosed on all 
sides was made possible. bater these bujidings for instructi- 
‘on were elevated to magnificent structures in a grand style w 
with impressive courts with pertecos and grand stairways. 

In close relations with these stood the libraries, elongated 
and ‘in oné or mare steries, well lighted, mostly richly decor- 
ated rooms with cases or chests along the walls for the preser- 
vation of the books and with tables for writing and reading. 
They were not elene erected as state buildings; ‘nearly every 
city had its own library. 

Tt confers particuler honor on the Renaissance, thet the bu- 


Qt. 


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pits & bextupos etwtostidois issasloo bas ‘teteatta dgiw gatos} 


478 


pg, Mumane tendency of the age is also recognized in the Gare for 


the physical welfare of the sick and the poor by the erection . 
of hospitals. These are frequently great and monumentally tr- 
eated architectural designs with open entrance porticos, spac~ | 
‘tous, light corridors, large wards for the sick, and the subor- 
dinate rooms for physicéans and servants, arranged around airy 
internal courts with thorough regard to the special. requirene- 
nts of these buildings and their sanitary arrangements, . 

For commercial traffic served the market halls, i.¢., spaci- 
ous covered porticos, open on two, three or on all sides. Vor 
public assemblies of the council, of certain corporations, and 
even of certain families on particulerly important occasions 
loggies were erected as vaulted arcade porticos, such as part- 
ly alreedy occurred in the middle ages. (Page 163). sy 

fhe public fountains in the period of the Renaissance attain- 
ed to an importance as ornaments of the public squares, simil- 
ar to that formerly in the Roman state. They are in part det- 
ached buildings with prominent figure representstions, in part 
architectural show pieces in the form of the antique triumphal 
arch with rich sculptures. Gikewise ménuments, especially br- 
onze statues with carefully proportioned architectural: substr- 


jf) aetures, were erected in great numbers as a visible expression 


of the strongly developed feeling for personality and the rev- 
erence for fame in the time. Even the ancient Edyptian obeli- 
sks came into honor egain, when they were chiefly procured by 
the Boman popes and erected on great squares. 

On the contrary the theatres by far did not occupy that pos- 
‘ition, which they had in antiquity. They were mostly built of 
wood after the ground plan of the Grecian theatre with a stage 
of small depth, that in part already presented a view of the 
eity constructed in perspective with a painted vscrerer & 
(figs. 272 a, b). 

With the public buildings are further counted the tontitiéa- 
‘tiens, which experienced a thorough transformation in the Ren- 
aissance. With the introduction of heavy cannon, the high ga- 
te towers lost their former importance. ‘In their places appe- 
ared low and broad gateway structures, which by a rusticated 
facing with pilaster and columner architecture acquired a fri- 


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“179 

friendly, rather than a defiant expression. (fig. 260). The 
mediaevel battlements possessed no further value. Bold corni- 
ces, often resting on conseles, rusticated ashlars at the ang- 
les and alse in part on the wall surfaces form on these and en 
the bastions the most common artistic means of expression for 
the architecture of fortifications. Pinally we have yet to m | 
mention the bridges, which likewise by the edoption of the Re-. 
naissance treatment with a tendency toward the forms of ancie- 
nt bridge structures, were drawn within the circle of the bea- 
utiful. 


VI. The fost Important Monuments. 
1. Barly Renaissance. 

PUSCANY AND MIDDLE ITALY. =~ The grand series of architectu- 
ral monuments of the Italian Benaissance was commenced in Flor- 
ence by the works of its first chief master and founder, the 
genius Filippo Brunelleschi (1372-1446). His earliest and ep- 
och=making great. work consisted in the previously mentioned e- 
rection of the dome of the cathedral of Florence. Almost con- 
temporary with this (1421) he began the new beilding of S. Eo- 
renzo as a three aisled cross basilica with rows of chapels s- 
long the sides, side aisles vaulted by dames, horizental iceil- 
ing in the middle aisle (Pigs. 240) and a low deme without drum. 
In his second larger church building, S. Spirito (begun 1486), 
likewise a cross-shaped columner basilica, the master already 
exhibits a substantial advance from his system developed in 5. 
berenzo. fhe ground plan comprises a Latin cross consisting 
of two rectangles of equal width. The side sisles are there 
extended by semicirculer chapels and are carried around the 
‘Rave, transepts and choir. (Bigs. 241, 242). Both churches # 
were first completed after his death. Unfortunately they rem- 
gin without facades. fhe new ideal of the central building w 
was carried out by him first in the old sacristy of S. borenzo, 
with which he began the erection of the church, then ‘in a more 
mature form in the Pazzi chapel (1430-1443), indeed on the gr- 
und plen of a not fully developed Greek cross with low dome on 
& low drum, a work that in beauty ef the interior, clarity of 
structure and treatment of the details, belongs to the noblest, 
that the Renaissance has produced. Brunelleschi was also the 


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-189 
founder of the Florentine palece style. He introduced rustic- 
ated eshlar construction, end created in palace Pitti (about 
1440) an extremely impressive model for its use, ‘though only 
a part of the building can be attributed to hin. Burthermore 
also in the earliest of bis secular buildings remaining to us, 
the upper story of paleca di Parte Guelfe (after 1418), altho- 
95508 even if the facades are still timorous, they are subdivid- 
ted by pilasters, and in the portice of the Foundling Hospitel 
(designed in 1419) he established a columner structure with 
round arched ercade im strictly classical beauty. (Fig. 243). 

Auong bis successorsis first to be gentioned the Florentine 
Wichelozzo di Bartelommeo (1396-1472); he was originally a br- 
onze-founder, then a sculptur in stone, and finally (after % 
1455) court architect of the Medici in Florence. To him is 4 
due the origin of the beautiful passage to the sacristy and t . 
the chapel] of the Medici in §. Groce in Florence, that still 
stands on the transition stage, and the new building of the 
monastery of S. Marco (1437-1443) with a splendid cloister and 
grand three aisled library hall. The master attained greater 
‘importance in palece architecture. Palece Riccardi in Floren- 
ce, formerly erected for the Medici and probably in the thirt- 
ies (1430-1440), is bis work. (Fig. 209). His beautiful colum- 
nar court with Composite capitals is the model for. countless 
palace courts of the 15 th century. 

Michelogzo?s pupil and successor was Giuliano de. dajane’ G 
(1432-1490). bike Wichelozzo he was cathedral architect in 
Florence, busied himself in church architecture chiefly by res- 
torations and extensions, erected in Siena palace Spannochi, 

a refined repetition of palace Riccardi of Florence, and was 
also engaged in Naples, as we shall see later. (Rage 213). 

‘An independent position ‘is occupied by the learned and ‘many= 
sided heon Battésta Alberti (1404-1472), one already belonging 
to the most fertile leaders of the Renaissance by his writings 
on architecture, sculpture and painting. Doubtless he stood 
nearer to the antique than to his contemporaries. Yet be inv- 
ariably demanded aniindependent , i.e. a creative position for 
the prototypes. In the year 1446 he commenced his first chur- 
ch structure in the rebuilding of 8. Francescn | ‘in ‘Bimint, of 


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181 
Which the but partially executed facade ‘in the lower story is 


imitated from the arch of Augustus in Bimini. In the same ye- 
o> ee he began palace Rucellei in Florence, whose erection he en- 


trusted to Bernardo Rosselino. (d&ccording to recent investig- 
ations, this palace must certainly belong to Rosselino). In 
this structure Alberti undertook an advance, fluitful for the | 


further evolution of the Renaissance, when he allowed the rus- 


tica@ed ashlars to recede and subdivided the facade by pilast- 


ers set above each other in the Boman arrangement. (Pig. 217). 


fhe church of S. Sebastiano in Mantua was comepenced in 1459, 
now existing only in ruins, he for the first time based on a 
pure Greek cross. In S. Andrea there he established a model 
for single aisled churches with wide side chapels and a eoffer- 
ed tunnel vault (Pig. 244), and a portico with pediment occup- 


ying the entire height of the interior, on which we find again 
the classical system of the temple facade. (Fig. 232). For S. 


Marie Novella in Florence he designed for the Gothic building 
the incrusted facade with the volutes already mentioned en pa- 
ge 196. Whether the design for the palace della Caneelleria 
in Rome, recently attributed to him, was by him is net yet as- 
sured. 

Alberti’s pupil, Bernerdo Rosselino (1409-1464), was chiefly 
employed in Florence as a sculptor in stone. From 1460-1463. 
and in the service of Pope Pius II as architect of the city of 
Pienza, named after him, he erected the facade ef the cathedr- 
al (page 188) and palace Piccolomini, whose facade is entirely 
arranged on the system of palace Rucellai in Florence. 

‘Among the remaining masters ef the Florentine early Renaiss- 


ance, Giuliano da Sangallo (1445-1516) occupies a prominent 


place. He was cathedral architect in Florence and finally ev- 
en the leading cathedral architect of the church of 8. Peter 


‘in Rome, His little church of Madonna delle Carceri in Prato, 


he erected in 1485-1491 as a central structure with a central 
dome and four tunnel vaulted cross arms. (Fig. 245). In its 
proportions it is a simple and noble creation with the happie- 


st effect, that has frequently found imitations in modern coun- 


try chapels. bikewise the beautiful octagonal sacristy of §. 


Spirito in Florence (1488-1492) was treated on the central sys- 


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a 482 ; 
system by Giuliano da Sangello. Of bis palece buildings, pal- . 


ace Gondi (1490-1498) is that best known on account of its mag- 
nificent columnar court with the picturesquely inserted stair- 
way. (Pig. 221). For the grand palace Strozzi (Fig. 246), wh- 
ich was begun in 1489, the master furnished a model. His part 


in the execution itself is not yet determined. As its chief 


master is rather mentioned Benedetto da Majano (1442-1408), w 


who ‘also created the charming portico of S. maria delle Grazie 
near Arezzo. (Fig. 247). Palace Strozzi is the most impressi- 
ve rusticated structure in Etaly. The very effective main co- 
rnice was constructed in the year 1500 by Simone il Cronaca 
(1457-1508) as an enlarsed ‘imitation of a Roman cornice. By 
@aronaca is likewise the court of palace Strozzi, and further . 
the noble palace Guadagni, in which the upper story forms an 
open logsia extending alond the entire facade beneath the wide- 
ly projecting roof, also San Francesco al Monte before the ga-. 
te S. Miniato, a church of a men@icant Order with visible fra- 
mework of the roof, whose simple beauty also surprised Wichel- 
angelo. Antonio da Sangallo (the elder; 1455-1534), a brother 
of the Giuliano mentioned abowe, in his chief work, the centr- 
al structure of the Madonna di S. Biagio near Montepulciano 


_{1518-1537), already stands on the stage of the developed sty- 


le of the hish Renaissance. (Pig, 248), -- The three masters 
just mentioned are the last representatives of the Florentine 
early Renaissance: in them was completed the transition to the 
high Renaissance. | 

fhe influence of Florentine art was expressed with particul- 


: ee Ngee oe 
ar strength in the neighboring Siena, where the early Renaiss- 
ance took quite the same development. There arose a powerful 


leader in Luciano da baurana (died 1479), the creator of pale- 


ee Prefettizio in Pesaro (bedun Before 1465), on which for the 


first time the windowsenclosuressare sreated as pilasters with 
entablatures,and the famous ducal palace at Urbino (after 1466) 
with a columnar court of extremely noble design. baurana rej- 


ected rustication in favor of a stately architectural subdivi- 


sion. More purely than ell his contenporapties did he compreh- 


end the classical | expression of art and pring ‘at out in his 


works. 


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183 

UPPER ITALY. Here the traditions of Gothic bad an infinite- 
ly greater effect than in Tuscany and middle ftaly. ‘Stell sat: - 
about the end ef the 15 th century (1487) were architects cal- 
led from the North to Milan for advice to the masters carrying 
on the erection of the cathedral. And yet the refreshing bre- 
eze of the new spirit makes itself perceptible on Lombard soil 
‘in the entire art life. It is particularly noteworthy, that 
here, where Romanesque art was so deeply rooted in the popular 
feeling, many masters found the way to the Renaissance in the 
return to early mediaeval art forms. Romanesque columnar gal- 
leries again appeared (1g. 249) with the characteristic corn- 
er leaves on the bases of the columns, yet with capitals, that 
abready belong to the new treatment of the forms. Thus ‘in up- 
per Italy was completed the transition from the middle ages to 
the Renaissance in a peculiar style, prevailing until the end 
of the 15 th century, with combined classical and Gothic moti- 
ves having a rich picturesque effect and a strons charm in the 
treatment of details. In the entire first half of the 15 th 
century it still bears a predominant Gothic character; then t. 
the harmonious keynote of the Renaissance ever more strongly 
appears, until at the end of the century it acquires entire c_ 
clarity and purity. See 

Fhe first important works of the Renaissance in Wilan are r 
referred to a Florentine, Antonio Averlino, named Hilarete — 
(1410-1469), who was called by duke Francesco Sforza to erect 
a castle there (1451). The parts of the structure erected ‘by - 
him no longer exist. Yet his chief work, the Great Hospital 
(Ospedale Gasdiore), of which indeed only a portion was execu- 
ted by him, affords evidence of his altivity. Bilarete, the 
inspired adherent of classicism and expressed enemy of Gothic,* 
entered into a compromise with it as a concession to ‘bombard 
taste, when he employed the pointed arch on the windows, ‘cert- | 
ainly covered by the most charming Renaissance ornaments. (Pig.215). 

*® Filarete abaut 1480 satd of the Gothic: -- “decursed be he 
that invented this blunder; I believe that only a barbarous p 
people could have drought it to Italy”. | 

About the same time the church of Certosa near Ravia (page 
£32) received its external architecture in Renaissance forms, 


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2 


184: 
yet with many :reminiscesces of Romanesque art. The magnifice- 
nt cloister with small marble columns on attic bases with cor- 
ner leaves and with arches and cornices of terra cotta (Fig. 
249) belongs to the dest works of bombard ~earlyoRénaissance. A. 
show piece of the rarest kind is the famous marble facade of 
the churbh, on which were engased a great number of the most 
important sculotors, under the lead of Giovanni Antonio Omadeo 
(or Amadeo) from 1474 oward. In its transcendent wealth of s 
separate statues, relief oanels and minor sculptures of. all k. 
kinds, it appears like a colossal marble wall covered by ‘rep- 
resentations. (fig. 250). 

On the cathedral at Como, the facade was executed in 1460- 
1428in the Lombard mixed style between Gothic and Renaissance; 
then the sides of the old Gothic structure received facings in 
pure early Renaissance forms by the brothers Tomaso and Jacopo 
Rodari. The choir, transept and dome structure (begun 1573) 
already stand on the last stage of the transition to the high 
Renaissance. 

About the end of the 15 th century, there appeared in upper 
Italy a powerful revolution, which was introduced by the begin- 
nins of the activity of a great master of the first rank, Don- 
ato d’Angelo, called Bramante (1444-1514), a pupil of the al- 
) ready mentioned baurana in Urbina, and porn in a village near. 
Urbino. Bramante was one of those powerful and manysided Ren- 
‘aissance masters, whose ideas tended to grandeur, and who was 
gifted with a comprehensive view of the whole and an unusually 
excellent feeling for the effect of the.interior, for the har- 
mony of the structural masses, thebrosubdivision, and for nob- 
le and beautiful proportions. Only the first time of his inde- 
pendent creation, of his development belongs to :Molan Cantil 
1489). In the year 14/0 his activity in Milan commenced. His 
‘first work ‘is the present transepts of the church S. Maria pr- 
esso S. Satire, built on a very limited area, that he cavered 
by @ central dome and two low tunnel vaults, for his character- 
‘istic conception of the choir facade, as well as the charming 
sacristy (Fig. 222), treated as a pure central building. ‘In 
1492-1499 he erected the choir, transepts and dome of S. Maria 
delle Grazie in Milan and the arched portico of 5. Ambrosio. 
Also outside #ilan several church buildings are referred to 


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185 

Bramante in plan and also partly in execution. In their desi- 
gn he always gave the preference to the central building over 

the basilican type. We meet him again later in Rome, as the | 
actual founder of the High Renaissance there. Yet already du- 
ring his Milanese period, his influence was so great, that he 

Save his own stamp to the entire art of upper Italy. (8ramant- 
escoe stile”). 

Next to Milan the influential and splendid city of the lear- 
ned, Bologna, formed in the Quattrocento an important part of 
the art climax of upper Italy. Still in the 15 th century it 
was under the strong reaction of the Gothic. Even at the end 
of the century (about 1480) was erected a new structure (S. A 
Annunziata) entirely in the Gothic style. The early Renaissa- 
nce expressed itself chiefly in additions and the rebuilding 
of older churches. So much more important is the palace arch- 
itecture. We have already referred to the open arched passas— 
es alons both sides of the streets (page 198); they impart to 
the view of the city an unusually friendly appearance. As in 


f//Milan, here also the cut stone architecture is transformed in- 


to brick, whose form treatment assumes an elegant Sracefulness 
The earliest type of the numerous Renaissance palaces of Bolo- 
gna is represented by palace Isolani (after 1453), on which t 
the pointed windows of the principal story are flanked by flu- 
ted pilasters. An expressed Renaissance treatment is shown by 
palace Pava (1483) and palace Bevilacqua (begun 1481), on whi- 
ch the arched porticos are exceptionally wanting, and whose 
facade is entirely executed in cut stone, indeed in rusticati- 
on with careful faceting of the different stones as diamond 
paneled ashlars. The windows are enclosed by richiy decorated 
pilasters. The courts of the two palaces last mentioned are 
counted with the most beautiful columnar courts of the early 
Renaissance. ‘According to the series of forms palace Fantuz- 
gi (1517-1522) belongs here. (#is. 251). 

Tn Venice the Gosunic aeld its place longest. The architects 
were also mostly sculptors, and in that world city so enriched 
by its commerce, they rejected unwillingly the picturesque op- 
enings in the walls and the splendid detail treatment of the 
Gothic expression of form. Pirst in the last quarter of the 


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we. 


‘186 
15 th story the Lombardi, an artistic family eorisinatings at 6 
Garona on lake hugana, introduced the Renaissance forms into 
Venice, certainly at first with a predominating decorative con- 
ception. Pietro Lombardo (died 1515) built after 1481 the be- 
autiful palace Vendramini-Galeghi * (Bid. 252),and with his + 
two sonshAntonio Sdied 1516) and Tullio (died 1532), from 1480- 
1489 the splendid little church S. Maria de’Miracoli, whose f 
facade is subdivided by orders of pilasters into two eeeee 
and terminates with a Sreat semicircular arch. . 

* The ouilding is dated with the year 1481 and the name of 
Pietro bombardo. Ft was first completed about 1509. But on 
the city plan of the year 1509 tit is sttil wanting. The plan 
and the cammeneement ef the structure have in recent times be- 
en attriouted to Moro Godueci. | 

In the remaining cities of upper Italy are crossed bombard, 


, /¢ Venetian and also in part Tuscan influences. Verona obtained 


‘by the important Pra Giocondo * (1433-1519) its elegant palace 
del gonsiglio (after 1476), that just like the loggia del Gon- 
sighio in Padua (after 1493) has in its lower story an open 
portico with an extremely noble treatment. ‘In Brescia was ‘com- 
menced in 1492 the impressive palace Comunale, whose ground s 
story contains an open portico, after the Lombard style and Q- 
occupying more than half the width of the facade. The church 
S. Maria de’wiracoli there (after 1480) is a central building 
designed after Venetian models (Greek cross with four rooms ‘in 
the angles), that on the ekterior employs orders of pilasters 
with magnificent sunken arabesques and round arches as the up- 
peer terminations of the walls and candelabra columns in the 
interior, that rise from acanthus leaves and are: charmsaghy’ : 
decorated by natural foliage. (#ig. 253), 

* Besides Bramnante, Fra Giecondo was perhaps the greatest ‘a 
architect ‘of his time in Italy. POL ASOEL OER DE Saree ee 
15i1l the five dooks of Vitruvius. 

ROME AND LOWER ITALY in the 15 th century stand under the vie 
‘influence of Tuscan art and that of upper Italy. Most of the 
popes were ‘favorably disposed toward humanism and called fore- 
‘ign artists to their court. ‘Amons these we find the Learned 

Alberti, even if rather as an impelling force than as an exec- 


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"i ie 
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187 

executing ‘architect, his pupil and colleagues Bernardo ‘Rossel- 
‘ino and Giukiano da Sandallo. About the middle of the 15 th 
century arose in Rome the first architectural works of the new 
style. The splendid period of the Roman early Renaissance ‘fa- 
lls in the reign of the Art-inspored Pope Sixtus V. (1471-1484). 
His chief master was Giacomo da Pietrasanta (died 1495). To 
him is due or a great part of the Vatican (Papal palace) and 
the church of S. Agostino (1479-1483) in Rome; besides he led 
in the erection and the restoration of the numerous ‘older str- 
uctures in the capital. Rrabably also is to be referred toh 
him palace di Venezia (after 14514), which has a facade with v. 


y/2-wery Little expression, butiit presents something noteworthy 


in its beautiful court (fig. 354), where for the porticos squ- 
are piers with engaged half columns are employed instead of ic 
columns, after the model of the Golosseun, 

Under Innocent VIII (1484-1492) was completed the oeaeadeaen 
to the Roman high Renaissance. From this time (after 1488), 
if not earlier, dates a principal creation of the Etalian Ren- 
aissance, palace Gancellaria in Rome. This noble structure w 
was formerly attributed to Bramante, but he first came to Rome 
in 1499] after the Gancellaria had been substantially complet- 
ed for at least three years. Recent investigations are incli- 
ned to ascribe the design to the great Alberti. The building 
actually appears as the highest development of the Florentine 
style proceeding fram palace Rucellai, already entering into 
the high Renaissance. The facade shows in the ground story Pr 
rustication with round arched windows, in the two upper stori- 
es being Zorinthian pilasters with the appropriate cornices a 
and windows with horizontal caps, in disnified and reserved 
projections and members exhibiting a refined feeling for style. 
The construction with its open porticos in two stories ‘is the 
last grand eeclumnar court in Rome. 

Into Naples the Renaissance found entrance about the middle 
of the 15 th century, indeed chiefly by the activity of maste- 
rs from Florence and upper Italy. Giuliano da Majano (page 
205) erected (after 1485) the noble Sate Gapuana, an arch with 
pilasters, high frieze and attic between two stately towers; 
he was also engaged on Castello Nuova.(Page 182). Pietro di 


parang vabn. bas aon seented beswoexe neliM mori ontdxeX 
dm teegge ubsente elisieb oft doidw of .edteso sist to Lisa 
iad qtote ons edd ¢livd bas .emt02 oemof sneions Yo viiswa eds 
¢ ~9099h, edi 101) bemeedce yiteor® .1 oenelié anid to fors ladeqas 
‘ 
ties? off to ation geonit ons of .OVRE bag Lebl neswied egek 
~t80 eft io suqzo sit Yo enoissioneb edt. anoles sonsaatane® se 
 ~fthpome® sort eivtqinoe .¢.% .eenioswo) eft yd betpoous .Leubed 
apenstieddve beleis ee1dd s to moi sit eed fotdw .xisd?t sscan 
% 20) wseondisis cmexse9 to ctueseare yo bensobs et: bas doando 
Bi bevseserc nesd eved ollshaed sb onsiiut® Yo ekniblind eng 
~bbs, .euetveiolo .acosisa ed? .anisuea saecsxoonian vino eelasi 
wiudnss ay Gi eis io tisd bnooes edd to ernthlivGes bus enoisi 
-e9oneuding enttasi0lt sebeo yiteido sxe 
cunan serene’ oF beaselet enoidqoexe wet wost ebies .YIIOTE 
6d3 of inicdiel ysusaso ct Sf exttas oft ak bentamea {lite ~B% 
«Wandae od SL ods ni gneve .yledi vewol edit bas .elyae ofdtod 
-e2nthlivd dassiogmi diiw herssaga sebmol on ti 
-Sonegeisneh daskH .S 
i ehid Ja96. 943 heonammoo.otacoeupatd end to Snéontasd oda ctiW 
_ ~nedse ods bed ydevoiverS. .( 83 9869) .conceeisnel edd to bois 
» Leinscetidors edd to yeiteiduetedse eds o¢ bosoveb assed Nols 
_~-8iedmem esi: to meitnsti0 bohasats visebio sat of bas sonsiesade 
“node dion [stnomanio Latnsbioos yisiem bas ywisezsosanw yd tov 
08 ,eeinogesoos syidisxoneh sd? .beonment{tag 90 tostie esi bi 
‘ -f) betoiztess etoleseds o1sr .Céneocaddsu® odd ni berovel dove 
-  hveaoadegingd & m0 beoeia caw Sdztow Yoino sat .eximad ited oi 


*7eGdeTq exotnomasd ent no .secese [aqmdoedvinors. sag Yo noteivib: 


j (edt Yo eioetis, benidmoo iviisueed ond bas eetsose ons to enoid 
_  xddointe)c10n oxen exebs0 iensuloo eat. ,emscd. Isautostitiors 
aoe eameio2g mo exedmam Ilse sence Supidos edt ak bedecad 
~fod si obem s19ew .s¥id oft, bus ewolnin. .peditnsxoo edd ac 21978 
on? .onsxb yilwtesso ero hms beiitesa ylisterso .Yeiiex rb 
@ bas etom has yitlidaotiqas aieds ni heyoiatess s1en zonpfoo 
nisp Adiw desosoos wi etyvogone coxt.es noigonpi siedt deol stom 
Ts etesesliq bas sameloo bebsgag vo bebivibdus yidoix .2i9ia 
~oOfsonst siess of anibroces exvesela ge betauberxd sd blues dot 


; 


Rise “ 
ie ba 1 ¥ 
7 | =) ” ~ : y ‘4 ~~ 


woe deoth offs SniseLomoo .ovowll iedesD 1e9n .Reiles ot anokds |\¢ 


Read asdomdo bas eootsi0g lo esandonsde sbhiw od? en 


188 
Martino from Milan executed between 1455 and 1457 the festal 
hall of this castée, in which the details already appear in t. 
the purity of ancient Roman forms, and built the two story tri- 
umphal arch of king Alfonso I, greatly esteemed for its decor- 


Lj ations in relief, near Gastel Nuovo, completins the great show 
Sate between 1461 and 1470. To the finest works of the Itali- 


an Renaissance belong the decorations of the crypt of the cat- 
hedral, executed by the Gamacines, i.e. sculpturs from @emo in 
upper fttaly, which has the form of a three aisled subterranean 
-ehurch and ‘is adorned by ornaments of extreme richness. Of t 
the buildings of Giuliano de Sangallo have been preserved ‘in 
Naples only unimportant remains. The palaces, cloisters, add- 
itions and refuildings of the second half of the 15 th century 
are chiefly under Florentine influences. 

SICILY, aside from few execptions referred to foreign ‘maste- 
Ys, still remained in the entire 15 th:century faithful to the 
Gothic stylé, and like lower Italy, even in the 16 th century, 
it no longer appeared with important buildings. 

%. High Renaissance. 

With the beginning of the Ginquecento commenced the best pé-— 
riod of the Renaissance. (Page 173). Previously had the atten- 
tion been devoted to the substantiality of the architectural 
appearance and to the orderly arranged organism of its members. 
‘Not by unnecessary and merely accidental ornamental :work shou- 
ld its effect be influenced. fhe decorative accessories, so 
much favored in the Quattrocento, were therefore restricted i .. 
‘in their limits. The chief weight was placed on a correct sub- 
division of the architectural masses, on the harmonious prepor- 
tions of the stories and the beautiful combined effects of the 
architectural forms. The columnar orders were more strictly 
treated in the antique sense, all members | on cobumns and: ‘pile- 
sters, on the cornices, windows and the Like, were made in bol- 
der relief, carefully profiled and pore carefully drawn. ‘The 
columns were restricted ‘in their applicability and more and m 
more lost their function as free ‘supports ‘in contrast with, the 
piers, richly subdivided by engased columns and pilasters, wh- 
ich could be graduated at pleasure according to their functio- 
as. The wide structures of porticos and churches with their 


| 
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606 yoio {sarste sd? .omoh ai Hoitwlove att Yo eneoe Leaioni 
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@ wen'eds .beatasdo seve bed toscificis ag tena Hoteeiameo ta 
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| es? geomved® .f0Gt epeq: \f eaufoV) .vered 1 Yo sottised! trek 
©) wits eaeqetoos: Sonseereneh: otal bos asim eis to escetinore woom 
_ ~Sbned' feotatennye Yisnidne ns ewode osteed etesasmsr * veing. 
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i. bemob {feme s90t .esob Leaqtoenixa yidbiw 6iyte’ busdmod ods 
8 38) exewod sH0t 2818 BeOTD! ond Yo esikne eat nt gniyl ewoor 
oe nana emi BOND! eda Yo: Bseqe\ dee? eds .estane eng 
a ~mere) yderedT .clied eomentas es botacis Sefred esfknstos4 sd3 
9 £ bas! ynowred: besostaea: Yo notgects [anretat oe. bensived sina 
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189 
“domes and vaults, the Seneral spaciousness appearing ‘in even 
the dwellings of the citizens, now came to its highest develop- 
ment ‘in regard to beauty of internal creations and symmetrical 
proportions of architectural members. ‘With an incomparable p 
power of treatment of form, the great masters dominated space 
and materials, construction and forms, just as they: ‘generally 
practised all formative arts in a masterful manner. 

ROME AND MIDDLE ITALY. -- The high Renaissance finds . ‘we ‘pr- 
incipal scene of its evolution in Rome. The eternal city see- 
ms in architecture and the formative arts to show the dann of 
a new age with the splendor of the ‘former Roman imperial peri- 
od. Fhe rote of leader was assumed by the great Bramante of 
Urbino. (Page 209). In the year 1499 he commenced his epoch= 
making activity in a little domed structure in the cloister of 
S. Pietro in wontorio, erected in the ground form ’of the temp- 
le of Vesta at fivoli, with a Boric lower story crowned by a 
balustrade, and a smaller story with a dome, the whole a noble 
work with a distinguished perspective effect. Then he took up 
the rebuilding and new constructions of the Vatican palace, w 
which had previously consisted of stuccoed structures. Phe - 
court (cortile) id S. Damaso by him, and with the famous logs- 
ias painted by Raphael, afford ‘particular interest (the upper- 
most of the four stories was by Raphael). 

About 1505 Bramante received from Pope Julius II the greate- 
st commission, that .an architect had ever obtained, the new b 
building of the church of S. Peter at Bome instead of the anc- 
ient basilica of S. Peter. (Volume 1, page 159). he most fa- 
mous architects of the high and late Renaissance took part in 
this. * Bramante’s design shows an entirely symmetrical cent- 
ral plan with four cross arms terminating in semicircles after 
the Lombard style, a mighty principal dome, four small domed 
rooms lying in the angles of the eross arms, four towers at t- 
the angles, the four apses of the cross arms projecting from 
the rectangles beins treated as entrance halls. Thereby Bram- 
ante designed an internal creation of perfected harmony ‘and i 
incomparably grand effect, such as no building in antiquity ¢ 
could exhibit in equal measure. Theaceforth the Greek eroess 
passed for the most periect form of the Christian House of God. 


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| ‘Bed ets nt qenotverq cess sid as: .eanse emee ont ni tnomli 
i gt) stng2@ ee20 edd to anios? eldren snF -Supfins snd Jo 2oke 
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asin: dnowpols yebot {fiste ove sitiooeVY ettvtd oo elteso a0d18d 
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“woguevo etiup ¢ heaiorexe etiamasS medt¢ ve .swo8 to esneauaom 
notéelove oft bas asiassoonsda0o aid (ls aoqu sensations baits 


~ie1 ed of yitoe10h eedorsds evorsmon edt 19 .eautostigors to. 


‘ ibeT nt snoitsfoenod alle’ sits .2 ‘gnattbe eid of beste 
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199 
With the construction ef the four piers of the dome, the vault- 


‘ing, the arches and pendentives, .and the partial execution of 


the superstructure from the southern arm of the cross and one 


of the side arms, Bramante fixed the internal proportions ‘of 


the church of S. Peter. Its elevated beauty shows Bramante -as 


/) &@ master, in whomethe laws ef art received their highest fulf- 
“-ilment in the same sense, as the case previously in the best 
ages of the antique. The marble facing of the Gasa Santa in 


the cathedral of Loreto (1510) and the but half executed desi- 
gn for tee palace Apostolico there, as well as the majestic 

harbor castle op Givita Vecchia are still today eloquent witn- 
esses of his latest style, matured under the influences of the 


monuments of Rome. By them Bramante exercised a auite overpow- 


ering influence upon all his contemporaries and the evolution 


of architecture. Of the ‘numerous churches dorectly to be ref- 


erred to his school, S. Maria della Conselatione in Todi is t 
the most important. (1508-1524). 

* Fhe architectural. history of the church of ‘S. Reter. (Rtgs 
255): shows the following masters to be the leading architects: - 
Bernardo Rosaselini began a new building akready under Hichokas 


Vi (1458-1454), which was carried further under Paul BI, 1470- 


1473, but then stopped. ‘In April, 1506, commenced the aetiut- 
ty of Bramante. ‘He designed a new plan tn the ground form of 
the Greek -aross with equal arma and with a dome, using for the 
construction a portion of the existing foundations, erecting 
the dome piers with thetr vaults as well ws axvportton of the 


southerr erosstrme:. Under Branante Peruzzi and Antonio da 


Sangalto the Younger were engaged fron the beginning of work 


‘an the design i(in the year 1505). onward. After Bramante’s de- 


ath (#arch 11, 1514}, Fra Giocondo and Giulktano da Sangalto e 


assumed the Leadership fer a short time. Fhen (from Aug. 1, 
1514): tt passed to Raphael, who acted as the ptincipal. master 
untéid his death (1520) and earrtied on the buitiding further in 
thessense af Bramante. ‘From 1520 to 1524. ali butlding acttivi- 


ty eeased. Paul III wmepgetically took:it up again and entrus- 
ted the lead to Antonte da Sangallo (the Younger). He reject- 
ea the pedestals of the internal piers, raised the floor about 


10.5 ft. and thus formed the Vatican grottos. His model. ‘te 8 


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still preserved in S. Beter. Shortly before his death (dug. 
‘8B, 1546), he vaulted the sauthern and eastern arms of the ere- 
as. Under Antonio Baldassare, Peruzzi worked as assistant; ‘a 
year preceding his death he was also appointed besides Antonto 
as a leadéng master af equal rank fafter Jan.. 1586). Fron Jan. 
1, 1547, the continuation of the butiding lay in the hands of 
the aged Michelangelo (then 72 years old). He held fast to t 
the general design of Bramante, but simplified tt and intended 
to arrange before it a portico with a free colonnade. His pr- 
incipal attention was devoted to the dome, in vaulting which 
he went beyond Bramante’s design. At hia death (web. 18, 1564). 
only the drum was constructed. Hits successor was Vignela, to 
whom ara due the small subordinate domes at the rear, planned 
by Vignola. After him (1573). the Leadership came to Giacomo 
della Porta (until 1604).. He carried inte reality the grand 
project of Michelangelo for the dome in the years 1588-1590, 

fhe imposing general impresaton of the central design, eomp- 
Lete in iteelf, was only left to the building for a brief ttme. 
The clergy contended, that in view of the traditions for many - 
centurtes itn Weatern church architecture, and particularly be- 
eause @ pertion of the ancient basilica of Constautine had not 
been built over, whose consecrated sotl was thus devoted to s 
secular uses, the Greek cross shauld be extended to the Gatin. 
Carieo Haderna, Leader ef the: building after 1604, by the conm- 
and of Pope Paul H, wtth Giovanni tontana, was compelled to a 
add the existing nave (vegun 4607) with the vestibule. The d 
dedication oceurred in the year 1626. From 1629 onward horen- 
zo Bernini l-Labored on the structure. He Led in the internal 
composition, decided to erect two bell towers at the sides of 
the facade, out fortunately had to drop this plan and to tear 
down the tower, commenced tn 1638. (4647). But otherwise ‘is 
due to him the credit for tmpreving the general design : oe the 
erection of the elliptical double colennades ' (1655-1689), 
which Rernini partkhy removed Haderna’s errors. (Volume _— 

Bramante’s favorite pupil and successor in the buildings of 
the church of S. Peter was Raphael Sant# (1483-1520), the fa-. 
mous painter. His earliest work is the little and finely pro- 
portioned church S. Eligio degli Orefici in Rome (begun 1509), 


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Mca te veaaeeE 192 
in which he depended entirely on his instructor. In the villa 


»/¥ Parnesina (1509-1511), a logdia structure arranged in rectang- 


ular form with two prejecting side wings, Raphael erected the 
classical model of a dignified summer house with the happiest 
groupins of the elongated rooms and simple, nebly restrained 
architecture. As a great gaster of the high Renaissance he 
preved himself in the design and partial erection of villa Ma- 
dama (begun 1515). There he introduced two subseauently much 
employed innevations, a three .aiséed vestibule and an arcade, 
where the archivolt rests on two short pieces of the architra- 
‘ve restins on columns. (Fis. 271). Phis building acquired for 
Ttalian villas a typical ‘importance like that of S. Peter for 
churches. Qf the other ‘buildings of Raphael are yet to be men- 
tioned the magnificent chapel Ghigi im the church of S. Maria 
del Posolo at Rome (1512) and in Fherence palace Pandolphini 
(4516-1529), on which the window enclosures have pilasters in 
the lower, and half columns in the upper story; the alternati- 
on of sesmental and pediment caps above them first occurs here. 
(fhis alternation is certainly proved aleeady in drawings by 
Bramante). : 

Raphael’s most important pupil was Giulio Romano (1492-1548), 
likewise a very important painter, employed first in Rome and 
later in Mantua. His chief work is palace del Te (after 1525). 
the famous pleasure house of gonzaga before Wantua, an extend- 
ed building of rectandular ground form arranged about a Ssreat 
court with a splendid lossia on the garden sidé, the ‘interior 
decorated in the most splendid manner. At his church S$. Bene- 
Getto located south of Mantua, he retained the basilican form 
of the ancient church and the pointed cross vaults in the mid- 
dle aisle, continuing the vaulted side aisles as a choir aisle 
with a circle of chapels around the spines mains choir, before 
which he placed an octagonal domed space. 

His contemporary, the classically designing Baldassare Peru- 
zzi (41481-1537) was under the strong influence of Bramante, u 
under ‘whose lead he was employed on the church of S. Peter (p 
(page 316). He was very active in architecture, partly in his 
native city ef Siena, partly in wontepulciano, in Bologna (th-— - 
ere also designs ‘Bor the bedinning of S. Petronio ete.) and in 


in ne 5 addin senolod etfs tate 
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yi eaasiers Mid o¢ besudiséss ef  omoh ak 14769, ‘Abldtaesime 
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| smi) OF bestimaeg: Jon new yostsanss0taw cditanifess seods .eesbi 
| (eb ofposnd ssidawi esw edusmerd to eliqna tefdo edt to snd 
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etedeneded) smo8 ni: exonte® sosiso sesv eds ei) iow Isido aif 
ydi (86S .kt8) boowbes: ut sheost seodw to dostts ens (Lat exo 
i afs86 ef sud .ewobniw iieme bas eexs wobsiw gee vieeolo seat 
~Iefiotw yd) besornd anoo eo0ins00 Hiss sasokilingss sds yo bovoioms 
weiSeiudiseey bedore ylotas ons ek intignesd yieV .ofsaas 


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eee, . +2m107 supitas ylousq ai’ bers 
| Lauaiestiae? eoneeetsnes dati ods to omés og af bad souet014 
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| -moo nt etinti sesbom nidaiv. doseixgesa esw veivisos Lexstosdt 


| vesqut: eecbisg’ lexeves ai betsexo bhe enotsiberd ateda bevases 
-wotoost sbaste bsed ateda aa: -eitor benbiesb: vyienit bas evites 
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~~ .bdtnemoG bas onsiini® yemoe owe 2th: sobasugesife9 eds no ins 
) -feq Sntiiscet isnot sds. (gifavsuG bus tifemsxed sesaisa sLind 
| ~eG*obtosmA innavot® “tnbtties® sosisa asesteb sdt .seents¥ sos 
| fexsbrsdisve leq olden yiemeatxe etd nt enoifer (O8et-SEar) ote 
hr dsiweagnolsd 309)  dnffosas& sosisq io eenti cism eds (083D) 
bireiwetC aby. ay “+ s.@omeeetsne® stel eds os eisow r8ds0 eid 

xen to ‘eneoe odd omsoed “y pogtigmamlanes odd nt YIATT ABS, | 


seoiw .dsnoo sat bas. .tinev fonaud berehioo' s yd bonasag . (838. 


| “no *eteseem edt FOR ~.b6t100) Antheserq) 93. do seotd: oF norissa 


) <Gdetesn nitty. endesefo eid hos rnitent® goefaq: edif-siliv ent (5% 


193 
Rome, where he created (after 1535) his chief work, palace Mas- 


Simi alle Golonna with a beautiful portico and magnificent co- 


urt. (#is. 256). Also the cathedral of Garpi (after 1513), an 


imitation of 3. Beter in Rome, is attributed to him. In the 


Uffizi of Flerence are still preserved autographic drawings f. 
from designs by the master, evidencing the srand architectural 


ideas, whose realization unfortunately was not permitted to him. 


Qne of the chief pupils of Bramante was further Antonio da 
Sansgallo (the Younger; 1483-1546), an architect highly esteen- 


ed in his time, even if less an epoch-makins one. He was the 


leading architect of the church of S. Peter (page 216), employ- 
ed in the erection of several Reman churches and chapels, cre- 
ator of some palaces (Zarchioni Baldassari, Sachetti ete.). H 
His chief work is the vast palace Farnese in Rome (begun bef- 
ore 1514), the effect of whose facade is reduced (Big. 257) ‘by 
the closely set window axes and small windows, but is again i 
improved by the masnifticenat main cornice constructed by Michel- 
angelo. Very beautiful is the triply arched vestibule (Pig. 


(258), spanned by a coffered tunnel vault, and the court, whose 


two lower stories are imitated? fromtthet theatre of Marcellus; 


the upper story is by Michelangelo (efter 1517). In this cou- 


rt we have the most perfect example of a court with piers tre- 
ated in purely antique forms. 

Florence had in the time of the High Renaissance ‘in compari- 
son with Rome only the importance of a provincial city. ‘Arch- 


‘itectural activity was restricted within modest limits in con- 
parison to these of the preceding period. But the masters pr- 


eserved their traditions aid created “in several ‘palaces -impre- 
ssive and finely designed works. At their head stands Baccio 
d*Agnolo (1462-1543) with palace Bartolini near S. Trinita, t 


‘ithe villa-like palace Giustini and the pleasing villa casteil- 
anion the Bellesguardo. His two sons, Giuliano and Domenico, 


built palaces Gerawelli and Buturlin, the former recallins pai- 
ace Parnese, the latter palace Guadidni. Giovanni Antonio Do- 
sio (1533-1580) follows in his extremely noble palace bLarderel. 
(1580) the main lines of palace Bartolini, but belongs with & 
his other works to the late Renaissance. 
UPPER IPALY in the high Benaissance became the scene of new 


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194: 
artistic advances, and indeed is it here the eastern portion, 
that is quite prominent in the cities of Padua, Verona and Ve- 


nice. 


In Padua was employed the Veronese Giovanni Maria Falconetto 
(1458-1534), by whom is the palace Giustinani (1524) etc., dis- 
tinguished by cheerful grace with magnificent columnar arebit- 
ecture. Phe greatest building of the city is the ‘church of 8. 
Giustina (fig. 231), vlanned in colossal dimensions, begun in 
1521 after the plans and under the lead of the Venetian Aless- 
andro leovardi (died 1522). he ground form is a Latin cross, 
cevered (under the influence of S. Marco in Venice, supreme ‘in 
this region) by domes over the crossings and the three short c 
cross arms, low domes over the nave and transverse tunnel vau- 
lts in the side aisles; the latter are enlarsed by rews of cha- 
pels. On the like colossal scale is arranged the cathedral, 
built in 1551-1557 by Andrea da Valle and Agostino Righetta, 


planned bike S. Giustina, but the nave was later ‘interrupted 


by a short transverse aisle, the side aisle being treated as 

domed rooms side by side. 
Verona affords vere great interest through the works of 'Mi- 
chele Sanmicheli (1484-1559). This Sreat master was first 

engaged in Rowe as pupil of Bramante, but later returned tou. 


/upper Etaly. There he continued in the last manner of Braman- 
te, while he combined the great monumental tendency and ther 


refined feeling for beauty with an enjoyment of say ornamental 
workiin upper Italy. His earliest palace structure in Verona 
must be the noble palace Bevilacqua, whose facade in the grou- 
nd story (as almost always with him) is subdivided by rustica- 
tion in connection with projecting pilasters, in the upper st- 
ery by fluted columns. (fig. 259). On palace Ganossa the ent- 


‘ire sround story is treated as an open portico. The impressi- 


ve palace Bompeii has frequently become a model for later buil- 
dings with its bold rustication (without pilasters) ‘in the lo- 
wer story and the great arched windows between columns in the 


upper story. Of the church buildings of Sanmicheli, the char- 
mins chapel Pellegrini near S. pernardino at Verona (begun be- 


fore 1554), frequently harmonizing in the design with the Tem- 


pietto in S. Pietro in montorio (page 215), the famous great 


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4 
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= Sa neiles? oda to tisice ada ddiw feu sn0 nf asding 


‘195 

round church of Madonna di Campagna, also by him but only ere- 
ected after his death. Sanmicheli attained particular fame as 
the architect of the fortifications of the republic of Venice, 
‘in whose service he had charge of the fortifications of the m 
mighty state as far as Gysrus. How well he understood also to 
Sive to the defiant fortresses a truly artistic effect may be 
seen on the magnificent city gates at Verona, among which the 
fate Nuova (1533-1540), gate S. Zeno (1541) and the gate Stup- 
pa or Palio (ig. 260), built 1542-1557, possess high artistic 
interest. dust on these appears with what refined feelings of 
the master, he anderstood how to employ the peculiar beauty of 
the Grecian-Deric style, indeed by the contact with Grecian art. 


222. The capital Venice further received from Sanmicheli the imp- 


osing fortifications with the castle on the Lido (1544), and 
the noble palace Grimani on the grand canal (about 1550), who- 
se classical architecture of the columns and windows denotes 
the climax of the Venetian palace style. But the chief master 
ef the Venetian high Renaissance is the Florentine Jacopo Tat- 
ti, called Sansovino (1486-1570), an artist highly sifted as 
sculptur and architect, brought up in Florence and Rome, like- 
wise a pupil of Bramante, but when beside his contemporary Ti- 
tian was opened to him an important artistic position (after 
1527), showed himself not sufficiently strons to reduce to the 
correct measure the strong decorative tendencies reacting from 
the early Renaissance. His style of Ornamentation is visible 
‘in Pigs. 26% from palace del Municipio in Brescia, on which he 
executed the beautiful frieze of cupids and the main cornice. 
(®he window architecture was by Palladio), ‘Among Sansovino’s 
church buildings,S. Giorgio de’Greci (1550) is indeed the most 
important, a single aisled design, spanned by a tunnel vault, 
whose centre is occupied by a dome. As his earliest palace 
structure passes palace Gorner deila Grande (1532), on which 
the Roman school appears with its aim for monumental effect; 
it has vustication, in two upper stories being double columns. 
with arches placed between them. Soon afterwards ‘(1536) she b 
began the library of S. Marco, that famous lons state buildings 
on the Piazetta, in which the antique columnar architecture u 
unites in one gush with the spirit of the italian high Renais- 


Ok Ss 
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496 

Renaissance in the say Venetian conception. At the same time 
Sansovino built beside the Library the Zecca (fermer mint), to 
which he gave a somewhat more severe and earnest form in accor- 
dance with its purpose, and on the other side as a concealment 
of the tower of S. Marco the graceful hoggeta (1540), a marble 
portico as a magnificent show piece, that certainly is more p 
prominent by the sculpture than the architecture. Sansovino 
was also engaged in the erection of the beautiful chureb of 5. 
Salvatore, completed in 1534, which was previously designed in 
15906 by Giorsio Spavento under the plainly recognizable influ- 
ence of S. Marco (volume 1, page 194); Tullio Lombardi was the 
principal master in charge in 1507. 

Phe library of S. Marco strongly influenced the later maste- 
vs. Vincenzo Scamozzi (1522-1618) repeated still at a time, 


92 when the architecture of the Renaissance had already passed 


the last stage of its development, its architectural motive in 
the structure of the Nuovo Procuratie (1584), whose effect he 
Plainly lessened by the addition of a third story. 

Of Sansovino’s pupils,there appears as the most important Al- 
essandro Vittoria (1525-1608), who erected the tasteful palace 
Balbi on the grand canal. 

Another master of the highest rank was further produced by 
the Ital@an Renaissance in the phenomenal wichelangeln Buonar- 
otti. (1475-1564). Born in Caprese in the upper valley of the 
fiber, and trained in Florence in paintimgsand sculpture, Mich- 
elangelo commenced his epoch-making artistic activity in the 
city on the Arno. Until the year 1534 he was chiefly in Flor- 
ence, but was repeatedly and indeed for a longer time was eng- 
aged in Rome and chiefly in Bologna; then he removed to Rome 
and remained there until his death. . 

Michelangelo is the last great architect of the ‘Italian high 
Renaissance, who still belongs to the entire best period, sgath- 
ered its power in himself, and showed to art new paths, within 
which its entire future development was restricted. He accom- 
plished the Highest in all taree arts. In his works belonging 
to sculpture and painting is manifest a supermanhood, in which 
every ordinary form is increased to the gigantic, if this was 
required by the effect desired. by him. And likewise in his a 
architectural creations he appears: like a titanic intellect, 


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19% 
which escapes from all bounds of antique and Ghristian tradit- 
‘ion and matures the most strongly expressed individuality, su- 
‘eh as architecture never exhibited before him and never after 
him. his eye was always directed toward grandeur, to the har- 


fjo mony and contrasts of parts in light and shade, of advaneins 


and receding, of central and flanking architectural masses.Be- 
tail is for him an accessory, he only calculated on a sharply 
marked Bffect. His works were also accordingly fateful for 
the further evolution of architecture. 

Michelangelo’s activity as architect begins in the year 1516 
with a design of a facade for 8. Lorenzo in Florence, but who- 
se construction was later again dropped, when he took up the 
works for the famous tomb of the Medici (after 1520) at this 
church. That is a square structure erected on a square plan 
and cevered by a dome, with doubled pilasters and niches for 
subdividing the internal wall surfaces and rich sculptures, 
which are most harmonious with the architecture and are fused 
with it into an entirely unified and unsurpassed general effe- 
ct. (#is. 263). In the unfinished vestibule of the bibrary L 
baurenziana (1523-1526) with the interesting entrance stairs 
(executed in 1558 by Vasari after Michelangelo’s plan (Pig. 
264) is expressed a complete breach of all restraints respect- 
ed by former masters. 

In ROME by Michelangelo is the splendid main cornice of the 
palace Farnese (page 219), and from his later time (after 1561) 
the much discussed gate Pia, that in the Seneral design and t 
treatment of the details aiready bears all the traits of the 
jater Barocco art. The noble architectural sroup of the Capi- 
tol likewise is referred toMiehelangelo in the arrangement and 
also partly in the treatment (in 1546 was commenced the rebui- 
lding of the palace of the Senators and the splendid double f 
flight of steps), but it was only carried out much later and 
with frequent variations from his design. 

Phe master’s great work ia the domain of architecture lies 
‘in his labors on the new building of S. Peter’s church (page 
218). He undertook to carry on the construction , when he had 
already entered the 72 nd year of his life. His plan shows 
(while retaining the ideas of Bramante) the Greek cross with 


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198 
“four apses, a mighty principal dome,and four small subordinate 
domes over the corner rooms, with a front portico conceived at 
an enormous seale, that nevertheless, in case that it had been 
executed, would have subordinated ‘itself harwoniously to the 
overpowering effect of the main dome. The previously .construc- 
ted four piers of the nucleus of the structure were externally 
strengthened, the apses were moved farther outward, the compli- 
cated angle structures were removed and simplified into square 
corner rooms. Phe drum (Pigs. 210, 265) is internally subdiv- 
ided by pilasters and externally by doubled free columns, who- 
se aspiring motive continues in the strongly projected and te- 
nse ribs of the dome, diminished ‘upwards, and reappears ‘in the 
connecting and crowning lantern. Thereby the dome entirely 1 
leses the expression of weight. (On the construction of the 4 
dome, see page 178). To Michelangelo himself is only due the - 
drum, and of the architectural treatment, the external icoveri- 
ngvofithe outer portions of the choir and of the main piers 
in the interior. The dome was constructed according to his 
plan and model by later masters. ‘Its effect is unequaled and 
‘imposing. Bold and sublime, it soars in majestic security and 
repose above the eternal city as a representation of the higa- 
est power and dignity, and as the most perfect expression fou- 
nd by the spirit of the high Renaissance. 
3. @he bate Renaissance. 

In the late Renaissance (page 173) there set in with the le- 
ading masters a reaction against the subjectivism of Michelan- 
gelo, creating with she caprice of genius, that at first mani- 
fested itself as a return to the eadeavor for the most perfect 
imitation of the antique in regard to its proportions and det- 
ails, already occurring with Bramante and strengthened by Raph- 
ael, Baldassare Peruzzi and Antonio da Sangallo. We see in t 
this a phenomenon of the intellectual life ef that time of the 
counterreformation, which contested individual life in state 
and church, worked to strengthen the ancient teachings of the. 
church, end emphasized the unconditional submission to its dog- 
mas as the supreme basal law. 


fio Bhe character of the late Italian Renaissance was substanti- 


ally fixed by two leading masters, Vignola and ‘Palladio. They 


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4199 
were also learned theorists as well as distinguished ‘practiti- 
‘oners. ‘The unrestrained architectural treatment preferred by 
Michelangelo, as expressed on the gate Bia and the hibrary ba- 
urenziana, they regarded as extravagancies, that offended “the 
good rule”. So much the more strongly did they .adhere to the 
canon derived from the antique, “they swore by antiquity alone? 
Yet even with them the influence of Michelangelo remained und- 
‘@niable in the seeking for grandeur, for powerful effect ef t 
the architectural massessand subdivision on a celossal scale. 
Bntire systems of half and:full columns were added to facades 
jn place of the wall piers. Te the relief of the facedes acc- 
ented thereby corresponds a stronger emphasizins of the porta- 
ls and windows. Yet more than previously the antique architec- 
tural forms came into ‘use in the external as well as the ‘inter- 
nal architecture. But they frequently come to a more convent- 
‘tionally conceived mode of decoration, often applied ‘like a pat- 
tern. 

ROME AND MIDDLE IPALY. -- In Rome Giacomo Barogzi, ealled V 
Vignola from bis native city (1507-1573) was the leading mast- 
er. He was trained im Bologna asia painter, then at the order 
of the Vitruvian Academy in Rome (founded 1542) undertook mea- 
suregents of Roman works of the antique, went to France in 
1537, and in 1550 again te Rome. There be belonged to that c 
Circle ef artists, which surrounded Michelangelo; yet he cann- 
‘ot be termed his pupil. In the year 1560 appeared his famous 
manual (Rules 6fctheefive architectural Orders), which exerei- 
sed great influence in later times and even to this day. 

As a practical architect we find Vignola employed on the gr- 
andly arranged villa of Papa Giulio (Pope Julius) before the 


4 gate del Popolo (1550-1555), whose portico with upper story e 


encloses the front court in.a semicircle, and like the entire. 
architecture of the exterior and interior makes avery dignif- 
ied impression. (fig. 266). His most important secular build- 
ing is the imposing Farnese castle Caprarola near Viterbo (: 
(1547-1559). It is surrounded by a wide moat, is pentagonal - 
and fortified by bastions, but otherwise is a design completed 
with the architecture of a palace, which encloses a circular 
and extremely beautiful court with arcades, with a magnificent 


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200 
main steairwey end very conveniently arranged apartments. The- 
re Vignola has most happily combined the type of the fortified 
castle with thet of palace architecture and evidently utilized 
suggestions obtained in France. In the year 1564 after the d 
desth of Michelangelo he became the leading architect of the 
church of S. Peter (page 217). Very influential in church ar- 
chitecture became the principal church of the Jesuits, Tl Gesu 
(1528) in Bome. In it @8 clearly ekpressed the change in the 
architectural tendencies occurring in the age of the counterr- 
eformation. wen returned again to the old ritual basal form 
of Latin cross, but combined with it the effective form of the 
central building. Vignola then created in the Jesuit church 
a solution of the ground plan and treatment of the interior of 
amazing simplicity and artistic perfection. He gave te the ec 
central design four short cross arms with the width of span of 
the dome, lengthened the front arm to become a middle aisle, 
considerably wider than before, allowed this to end at the ch- 
oir side in a semicircular apse, and vaulted it with a tunnel 
vault corresponding to the dome. But instead of the side ais- 
les he arranged chapels. (Big. 267). Vignola also fixed the 
cross section and planned the details, still kept within the 
conceptions of the high Renaissance, but more simple and mass- 
ive. Rut bis pupil Giacomo della Porta went considerably far- 
ther, who completed the church after Visnola’s death. In the 
magnizicent treatment of the interior and the facade subseque- 
ntly designed by him is expressed a strong tendency to the pic- 
turesque in the sense of the later Barocco act. The church Il 
Gesu became a classical model for the churches of the 17 th a 
and 18 th centuries and even influenced the church of 8. Peter. 
The history of that church is also connected with the name of 
Giacomo delia Porta, when he was called to erect the dome aft- 
er Michelengelo’s model, and thereby proved himself to be an 
architect of high constructive capacity, With the theorists 
of Rome is to be counted furteer Pirro fisgorio (died 1583), 
the builder of the splendid serden house villa Pia (about 1560), 
in the Vatican gardens, and the villa d’tste (after 1549) in 
Tivoli, famous for its unequeléd park design. On the Pincio 
the Florentine Annibele Lippi (®ied 1581) built the paleca villa 


94% 
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SIT 

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_ sagolod at “yt ivitos %ideitis tastioqgmt yisv s to eaesos siz 
etd Opar naay ods ai bedatidva (S3cl-a\at) eifis& oasitesdss 
‘7ts8t) ibIedi? onttgelled »"atutoedtdocA to stood” Isitnen liar 
ae to tjednoo 6 at sloazi¥ to foodse sdz beyatdnos e19ds (eet 
_ Bids e8w asia ot salwatid -aactbliud begasiis Blew bas Lie 
-tgo%9 oda as (iniadelle® to omsa odd s9baw) begsaae ftostivor 
gaol A@e82) Sf{sbe% .2 to dotedo Saim1ado sdt to 10 
: odd to weT9d207 add 2s bas febom isoteaalo 8 as 


\ ase dads. \elyte soaseaisaed. etal edt at oha, 


me & 5 
~ 2 2 


201 

Medici for gardinal yedici, now the French Academy. The faca- 
de toward the city is simple, but the garden facade is surpri- 
singly rich. (Pig. 268); it sows in the open arched portico a 
and the rich ornamentation of the wall surfaces by antique re- 
liefs ané stucco ornaments the character of the late Roman ca- 
sinos in their perfection. The building makes that dignified 
and cheerful impresion, peculier to the works of the school of 
Raphael. We see here the charming and graceful, not striving 
for grandeur. | 

In Florence Grorgio Vasari (1511-1574), a many-sided artist 
and deserving writer on art, Stands at the head of the archit- 
ects of the late Renaissance. With Vignola he designed after 
the idéas of the architecture-loving Pope Julius II the previ- 
ously mentioned villa of Papa Giulio (page 226), and in Flore- 
nce the building of the Uffizi (1560) likewise commenced by h 
him, on which he solved in a masterly manner the difficult pr- 
oblems there given. Two parallel wings with imposing peorticos 
in the ground story flank a narrow street like ea court and are 
connected by a transverse building, which leaves an open round 
arched passage towerd the Arno. A greater activity in palace 
architecture was developed by Bartolommeo Ammanati, also known 
as eae sculptor (1511-1592). bike Vasari, he consciously became 
a follower of Michelangelo. On the court facade of the palace 
Pitti (1558-10/0), certainly more stiff than beautiful, he em- 
ployed rusticated asbhars and half columns in all three orders. 
(fis. 269). As a more refined master he showed himself on the 


520 neb,e bridge of S. Trinita over the Arno, which clothes the m 


most suitable arched span in @ very happily designed architec- - 
ture. 

UPPER ITALY in the late Benaissance became in several places 
the scene of a very important artistic activity. In. Bologna 
Sebastiano Serlio (1475-1552) published in the year 1540 his 
‘influential “Books of Architecture”. Pellegrino Tibeldi (1521- 
159%) there continued the school of Vignola in a number of sn- 
ell end well arranged buildings. Likewise in Miian was this 
architect engeged (under the name of Pellegrini) as the creat- 
or of the charming church of S. Fedele (15.9), long regarded 
as @ Classical model, and as the restorer of the cathedral fa- 
cade in the late Renaissance style, that was executed after 


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od dsds .19wog Ofterdas: io {fst oe esw oH .eanottsoqo1g to san: 


_ Paomunoa dota dtiw .euotanemid [fsma at neve .adaow aid belli 
| 9 edt aifeverq eobsost ati al .aatnsem Isastootinors bus Ist 
bsdaetxe “roby0 I[saeofoo odd at vixslvoteasq: ,masaye isamaloo 
wd boyotae asw mic dtiw aovat aslsoisisd .setsote ows dagoros 
bas wobsiw sfbbim edd seve dows Saved dttw wobntw slatad ast 
~ts91d\ to sbom s ,(49S 2325): awobniw obke odg ovods: eovertidors 
ai afd? .*otbalisS to svigon” sdt a3 wtd aot te botsagiesb taom 
~im bovet osfs st sf sonte .Stsiiqorggs, glowttes son yiaiatzao 
‘get bas .osasms79 dsiw .{828 sksq) losdash dtiw .oarivoene? ds 
a(f snsfoV) .otsfag? 38. nsitolo0i9 to soaisa ott ao ybse 
7 to ively edt tedt .1st 08 Saemsato |dt bonisrtess 


‘eS ag” a | oe 


202 
1616 after bis designs, though not completely, -- and one may 
say unfortunately. -- The buttersses and upper parts were cbo- 
theé in Gothic details, which appear like meaningless eecesso- 
ries in comparison with the animated forms of the doorways and 
windows. (Fig. 270). Tibaldi was a powerful and refined mast- 
er in the creation of interiors and in architettural treatmant. 
In the east part of upper Italy further srose in the 16 th 

century 4 chief master of the Renaissance, the great Andrea P 
Palledio of Vicenza (1508-1580). In him we become acquainted. 
with the most inspired and strongly convinced venerator of the 
anticue, which Itelian architects of the 1. th century and of 
the entire Renaissance period have to show in their series. Wo 
master before him had studied with such devotion and thorough- 
ness the architectural works ef the ancients end so deeply pen- 
etrated into their nature, and none had understood how to emb- 
ody the spirit of the later time organically in their treatme- 
ot of forms with such sovereign domination, like him. In cen- 
trast to Vignola, who like the Roman architects generally of 
the high and late Renaissance preferred pier construction, Pa- 
lladio cultivated columner architecture. In the year 1570 ap- 
peared at Venice his “Four Books of Architecture”, by which he 
has exerted a deep influence upon the evolution of architectu- 
re, effective until our own timee Palladio was just as strong 
im the theory as he was free and independent in creation in p 
practice. He mever ended with an ornamentel effect, but allo- 


£20 wed himself enlytto be guided by the arrengementaand the feel- 


‘ing of proportions. He was so full of artistic power, that he 
filled his works, even in small dimensions, with rich monumen- 
tal and architectural meaning. In his facades prevails the c 
columnar system, particularly in the colossal order” extended 
through two stories. Particular favor with him was enjoyed by 
the triple window with round arch over the middle window and 
architraves above the side windows (Fis. 271), a mode of treat- 
ment Gesignated after him as the “notive of Palladio”. This is 
certainly net entirely appropriate, since it is also found wi- 
th Sansovino, with Raphael (page 218), with Bramante, and alr- 
eady on the palace of Biocletian at Spalate. (Volume 1). He 
restrained the ornament so far, that the clerity of the actual 


bY 


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eh ppmaanen @930 seged) storaasy. @tg10t9. .2 to dowsdo 


2038 
structural elements could not be lessened thereby. 

Palladio secured the first great architectural commission in 
the so-called basilica in Vicenza (after 1549), an enclosing 
of the old city hall, dating from the second haif of the 15 th 
century, by an open two story portico (Pig. 271) extending en- 
tirely around it, a work op kreat and rich effect. This was 
followed by the beautiful palace Marcantonio Tiene (1558) tre- 
ated with a colossal order of columns, then palace Ghieragati 
(4566) with open portico in both stories, and palace Valmarane 
(1566), that exhibits a celossal order of Composite pilasters. 
To palace Barbarano (like those previously mentioned in Vicen- 
za), be gave (1570) relatively rich details, indeed with refe- 
- pence to the effect in the vicinity (it stands in a nerrow st- 
reet), to palace Prefetizio (1571) a massively effective Gepos- 
ite order (Fig. 235), which however appears less happily empl- 
oyed on the comparatively small building, than on the other 
structures of the master. Of Palladio’s numerous villa build- 
ings, his villa Rotunda near Vicenza is the most famous (Fig. 
236). It has ea regular square plan with four hexastyle temple 
facades and wide flights of steps en each side. Entrances fr- 
om these lead to a round central domed hall, around which are 
grouped the rooms and the upper and lower half stories. On 


/2/the whole, this vélle makes the impression, that it was desig- 


ned less for comfortable than for festal occupancy, and as a 
central and view point of a beautiful landscape. The theatre 
Olimpico at Vicenza, commenced by Palladio but only completed. 
after his death, appears as an interesting attempt in the res- 
teration of the antique theatre. (Fis. 272 a). It contains in 
an extremely plain structure the audience room, orchestra, st- 
age and architecturally treated stage wall in the arrangement 
of the Greco-Roman theatre of Asia Minor, but so far introduc- 
ed an innevation in that through the gates and doors of the s 
stage wall are presented views in streets and thereby perspec- 
tive depths, which were foreign to the former architecture of 
theatres. (Fig. 272 b). Likewise Palladio attempted great wo- 
rks in the domain of church architecture. His principal chur- 
ch buildings are found in Venice. The first of these is the 
church of S. Giorgio wagdiore (begun 1565), magnificently loc- 


Sensid -< ots ‘etteoqqo bas omsa omes sdt to dralet 943 0 d93890! 
oe .9m06 déiw soaltesd befeis saxds 2 Be 
ages Son aotenetxe 1% 43 bekasi1s iodo: “aiinom ga0f 8 bas .asloxéoi 
‘ebsaaotoo: 9g0 a6 yd betsisqes2 2i si dokdu mort ,risdo atem sda 
| *eedoenio soet10q s20m edt .ditow sastiogmt e10Mm bas bacoss sdT 
2) entlat.e1o0tnebss. [95 dowwdo odt at ,s9¢aem add to sxstosrde 
sea, 900 ssdt od agfq bavo71a at isiimta , ‘TS! asked ,sooshsr9 
“om Tedi0de ous alsqsdo sabia déiw Saleis slaaiea tud .bonoltasa 
~asstqmi ns asouborg doisds aids to r0otaetar ad? waited texas 
le ¢aemtsers [utrewog 943 yd ysianolos Sas vtused datd to as 
fsevolos s yd aokeivibdsa erevea bas biod od¢ bas rotdastat-odd 
~nom/bns baste ylisspS ssagteldstas zisdt bas aamuloo to 12610 
8202) da0n% ofaiisd e028 sbsost sit Jeo1d 153000 odd 6th Easuens 
10 aeb10 [agzoleo 8 dtiw aiets slbbim sdé to e8808t sds bar 
ed bedossts s1s dokdw teaisSs .sagntbeq wol bas samuleo isd 
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_ 7996 Tfoeatd ewodes rssomeo2 .ssas0t¥ at ant1e8-anteati? 998189 
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» Seek eid yd bliow asse{ eit beoneultat tetaem aids asd (88S 
bab siwseetidows — . olsateving siutsidord™ drow 
- Asieg, -¥asmI99 
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* wdae soae9- to vito s0died dae otfdvaot odd Bee orssi1bA 9dd a0 
wRSl edt ya .yvtneo dt Bl edt to t9s«80p tant? edt 19ssts dor18 
_ + @ts008 so beatstdo si dotdw to .sasved edt ddiw sbs1d avianes 
: bavot doidw <dtfeew ous yditeceota +3912 oF 9801 aooa si (ta8q 
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g | donde nut -~9t0s99dfdo1s: sogisq at asil erutosdinars ogeonsh 
& t6d% .tuomgoleveb saebasqebat dus 1etLyosq s tatit edd mort 


204: 
teeated on the island ef the same name and opposite the Piazet- 
ta, a three eaisled basilaca with dome, transeptssending in sen- 
icireles, and a long monks’ choir arranged es an extension of 
the main choir, from which it is separated by an open colonnade. 
The second and more important work, the most perfect ehurch s 
structure ef the master, is the church del Redentore.inithe G. 
Giudecca, begun 1577, similer in ground plen to that one just 
mentioned, but single aisled with side chapels and shorter mo- 
nks? choir. The interior of this church produces an impressi- 
on of high beauty and solemnity by the powerful treatment of 
the interior and the bold and severe subdivision by a colossal 
order of columns and their entablature. Equally grand and mon- 
unental did the master treat the facade as a temple front forn- 
ing the facade of the middle aisle with e colossal order of h 
half celumns and lew pediment, against which are attached the 
fronts ef the side aisles covered by half pediments, certainly 
without any organic connection. 

Pallaeéio was great and peculiar with all security in the con- 
ception and use of the antique architectural system in the ar- 
Cchitecturel ideas, the creation of interiors and proportions. 
Already among his contemporaries his influence became percept- 


sg: ible. The stately so-called bibrary of the old seminary at V 


Vieenza (Fig. 273) was executed under the lead of Vincenzo Sca- 
mozzi (1552-1616), but if not designed by Palladiec, was strong- 
ly influenced by bim, tikewise in bis most imposing building, 
palece Trissime-Barton in Vicenza, Scamozzi shows himself dep- 
endent on Palladio. More than by his buildings (slso see page 
282) has this master influenced the later world by bis great 
work, “Archittura wuniversale”, particularly architecture in 6 
Germany. 

Into direct competition with the splendid city of her Legeons 
on the Adriatie Sea the republic and harbor city of Genoa ent~ ~ 
ereé after the first quarter of the 16 th century. By the ex- 
tensive trade with the Levant, of which it obtained a great p 
part, it seen rose to great prosperity ana wealth, whieh found © 
fluent expression in architecture. The centre of gravity of 
Genoese architecture lies in palace architecture. This took 
from the first a peculiar and independent development, that in 


whe gatbfiod add bas e0sce to dosi sd% .yxietl to seen sdt bas 
-— efiltd ods to aqot edt of sez add moxut eaedari93 at aaraia ast 
. | “daemsnom sd3 to fasmmobasds as stesate woirsa odd at bs1ifv9s4 
; at Yiivets to s1daso odd wsa asW .eba08% sad. to Susmtaoxd Le 
Saivil, sot etnemetinpsa odt to sasmflitivt odd .e10fastat ont 


- Sean sobsost ois of .actidmeaes deitinaid of eeaeasites at baa: 2) 


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900) fsiceae ei1se1 adi ds dbevieoss st tud .asotansmtbh (Ieme of 
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| osama aoveg bas bolssps yieotsce .atosite bsdatuaatsearb 


mma TAs # 


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retutota oe) 2160194) oSaleq: 3nted Jt sbteed ,ayswi00b: bus ewob 
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 ,wbtesd. gawoo. bas. eooidteg 1sqqu) .vewiista .oluditesw kuteoani 
kk udiniotw sds nowl feeelk to agsiblivd siliv: enorewus edt 1@ 


205 
the late Renaissance in a Gertain sense represents a more mat- 
ure stage than the contemporary palace architecture ‘in Venice 
and the rest of Italy. The lack of space and the building si- 
tes rising in terraces from the sea to the tops of the hilis 
required in the narrow streets an abandonment of the monument- 
al treatment ef the facades. Men saw the centre of gravity in 
the interiors, the fulfilment of the requirements for living 
fjgend in reference to dignified assemblies. To the facades was 
siven an ornamentation better suited to en effect near by. 
The portal led into an imposing vestibule, but little elevated 
above the street level, from which by wide and gently rising 
stairs one passed into the court. This was certainly limited. 
to small dimensions, but it received at its rear a special dec- 
oration by a fountain erected on the middle axis. In this way 
were obtained picturesque views and effects of lhishtins with 
distinguished effects, scarcely equaled and never excelled el- 
sewhere. 

Tre evolution of Genoese architecture is connected with the 
works of its chief master, the talented Galeazzo Alessi (1512- 
1972). Coming from Perugia and employed for a considerable 
time in Rome, where he came in contact with Michelangelo and 
Vignola, he shared with the former the great tendency, to which 
details are but a means toward the purpose, but a feeling for 
proportions with the views of Vignola. One of his earliest w 
works is the beautiful palece Municipio in Milen, formerly pal- 
ace “arini (begun 15058), in which the court is treated with an 
unusual richness in ornamental and sculptured decorative work. 
(Hig. 274). The great series of his Genoese palaces was open- | 
ed by Alessi in the year 1559. The most important among them | 
stand on the femous Strede Nuova, on which is arranged palace. 
after pelace. There are the still somewhat severe palace Cam- 
biaeso, treated in the Roman style and entirely covered by rus- 
tication, but elready furnished with broken pediments over win- 
dews and deorways, beside it being palace sercari, so pieture- 
sque by its open loggias in the upper story, and then palace 
Spinola, externally painted but equipped in the interior with. 
imposing vestibule, stairway, upper porticos and court design. 
@f the numerous villa buildings of Alessi from the vicinity of 


ee ER ee ee eee 


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eet 


i. [ int gies blasassacd bdbvardine ed ot ei soned 
 badons eae Aste sosrtsd nsb168 ‘gtd 8 m9 vifatitessd oa bate 


+ °qeqaa edt at steaet tusaels att dttw ostées9 alliv safwodtt 
; eae ‘edd bas Satblied odd to dtagb orttas edt aatinstxs Yiors 
_ Oh .ddette o900184 8 10T bebastat ybserls altste6 edt to tase 
er .ome Paid eursseeeiecs{A toastiows dowids as setwedtd 
bomeb s ,sons8 se (SEGI rests) onsadkitso 8h stasy .2 to dorsdo 
‘dordo edt 197% e019 toeT9 s to asia edz at bokasixs dowsdo 
aiswot wot diin nsi@ etoleansiedoiw ot anthi0ses 19799 .2 to 
odd of eaaolsd vb99S60S s10w doidw to owt tud) esfaas sat ts 
(VS .829) sonseatsneA 944 Yo eaatSlivd dowwdo taatioqnt taom 
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-fteqml soaisq to 10ofse1. sit .uoitnsn aovieesb (838t berth) of 
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_-due (fdists9 won) speqs9 soaisa bus \fexofeo seaord ai y.te189) 
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pte -ayawifsts eldvob Bas oludtt 
o99089 {soasseianed ofsf sas0ne8 od to 21ssaae tsdto siz %9 
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w .betsert yidod asdt yievoqmos 13dte1 yLnisstaso .sivte based 
-stasitq dbetult bas dsisottaua yd debivitbdua osbeoat Aste seodw 
209fs10qg bedots asqo yiote sao at eebte dtod te aseaitaoo #4 
3 a0 odw (8622) tuods bat6) oomsi® semmolorssd [95 otosa8 bas 
~ast teanol On .S3l2 agasd .ysietevial seaist atd to shaoat sas 
-s8T9 tud .sonsaetsnef ead to avimil sat: afddiw Yfsemtd esotat 


829) eamslos bs fas00 dtiw tan00 bebsors a5 bas ootd10g s bed 


10 sph age Stow tdgsons yleotsoe sved Bluos sd 2s dove (87S 
sas al .oldstine 
s19q qiutass dy Sf edt to tisd baovee edt to svoatinore sdP 

“of edt To amz0% to seats edd aitdsiw baategs. [Lise bsaoitaon 

| odd” 98098 afstiso 6 af oteveq besattueo o8ls ysds :sonaceied 
_botteg Bids Yo atotesm tedto ds 2s soxb]eb mse ant of ton da. 
to taomebastzs ed¢ to tegasm bas yew 207 af aitow afeds ai’ tua 


i 


Pat? “eaottstacae1ge1 svtegetamt sosfa ot a1ske4 ‘edt .emoor ond 

“evitosqaieq oupastusota Sdt ts mis viedt? bas .favotas ret sad 

| Wedd ,eltats6 ots to WRteeb ods yd B90 e¢oatte gait dart! bas 
{serait smilie nah Sittae aes 5 tan ang’ voseuls 
a sme. ae Lo aa A wi 


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ashe || a” va ae A . a ¢ 


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206 
Genoa is to be particularly emphasized villa Pallavicini, loc- 
ated so beautifully on a high garden terrace with open arched 
porticos on the middle axis and a splendid balustrade crown; 
likewise villa Paradiso with its elegant logsia in the upper 
story extending the entire depth of the building and the treat- 
ment of the details already intended for a Barocco effect. j. 
Likewise as church architect Alessivattained high fame. His 
church of S. maria da carignano (after 1552) at Genoa, a. domed 
church arrenged in the plan of a Greek cross efter the church © 
of S. Peter according to Michelangelo’s plan, with four tewers 
at the angles (but two of which were €reeted), belongs to the 
most important church buildings of the Renaissance. (Fig. 275). 
) Among the contemporaries of Alessi, Giovanni Battista Gastel- 
lo (died 1569) deserves mention, the creator of palace Imperi- 
ale (1560), richly painted with figures and ornamental work (: 
(partly in bronze colors), and palece Caresa (now Cataldi) sub- 
divided by pilasters, and furnishedi with acvery«beautiful ves- 
tibule and double stairways. 

Of the other masters of the Ssenoese late Kenaissance, Rocco 
burago (died about 1590?) erected palace Doria-Tursi in the ¢ 
sgrand style, certainly rather pompously than nobly treated, w 
whose rich fecade subdivided by rusticated and fluted pilaste- 
rs continues at both sides in one story open arched portices, 
and Baccio del Bartolommeo Bianco (died about 1.56), who on t 
the facade of his falace University, begun 1.23, no longer res- 
tricts himself within the limits of the Renaissance, but crea- 
ted a portico and an arcaded court with coupled columns (PFis.. 
276), such es be could have scarcely thought more beautiful or 
suitable. 

Fhe architects of the second half of the 16 th century here 
mentioned still remained within the circle of forms of the Re- 


($s; naissance; they also continued severe in a certain sense, tho- 
ugh not in the same degree as the other masters of this period. 


But in their works in the way end manner of the arrangement of 
the rooms, the regard to place impressive representations in 
the foreground, and their aim at the picturesque, perspective 
and lishting effects, and by the design of the details, they 
already exhibit a new spirit, that of the beginning Barocco 
Style. 


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f ag ® f eid * Oe 
pt 


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$ 

4 


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to agktegioisieq tastzoqsi as iatis DOSE si ybanexd to aatiss (3 
ah to. mobaati edd. .visik 10t edsesaoo oda ot um1s dainead odd ‘ 
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| bas sginemh at eataofos ad3 bas yltors .ositt .vbaykis8 .2b ” 
~ag09 9sodw ai ,gbisinsg? edt to gisiaqs anistuqistnas siP ated 7 
sete? ot Os belstea s1s¥ 2aoissa okis10i to existe aid cyrd a 
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,Odixel to wobkatd odd .aseoo 947 bacyed, Dehaset saw ulsot dak 


etl, .dnemqgoloved bhsia bos wen o toot so1sms0o aaitixas en? 4 
_fieiasg? edt etew atatoqg Isatmreas bas Raitaste sastiogut Teow Re 
bitow odd to etisq msq edt work .20ktin deiasae bas. argdsad. 5% ; 
“ 43 feou awogiag seadt otat bawolt 


. Mapai sah bas [snottesa sncottingsm s to eats atdt oT 
dsgoe odd to saftio sd? .c1usoas itor ed. List ansidowg gest, 
ods qelexbedss2 evtasexgmi boxiuyss bas meicl worl Gani sisw 
vd Sortwoex aew dvist aatteixd9 941 Yo Saiaeqesh bas aotaastxea 

- ritedasaon {eitaeuliat to anibaved ens debuemed dns doxsdo eda 
ri te, teeta, edge bee eo0gtig odd. tduogaua ottehasne Viedst dae. ; Bai 
(aay shed: Ot Saibaogesrs09, .gseeisq. wea t0% boanol yrsnwoo eds 

LaaT eth ob idng. ‘tiedd af esitio odd dns .dddsow sieds ons yota 
and? .a¢aemsitepe, begeercad odd wolsd Sonismor. vleouseg 28 

sceapemnattse tip ee Doseixe suis edd To. eaotsroaee od 


— sha a a ee a 
om is a ues Bee aid i. dy ae c i K aX pa Wi ae 


207 
2eRENATSSANCE ARCHITECTURE IN SPAIN AND PORTUGAL. 


fhe time of the Renaissance brought to the great peninsula 


in the extreme southwest of furope a period of unusual prosper- 


ity and the climax of its political importance and power. In 
the year 1479 originated by the union of the two principal st- 
ates of Castile andArragon a great Spanish kingdom, which soon 
commenced a thorough political reorganization to strengthen i 
its internal power and for a development of that directed ext- 
ernélly. The Spanish monarchs placed themselves in the servi- 
ce of the Catholic church, for whose extension and in the name 
of its protection, they employed the swurd. In the year 1492 
the last remnant of Moorish sovereignty was conauered by the 
taking of Granada; in 1504 after an important participation of 
the Spanish army in the contests for ftaly, the kingdom of Na- 
ples came under the Spanish monarchy, and in 1516 there fell 
to it by inheritance the crown of the imperial house of the 
Hapsburgs. Thus Spain became the centre of the world empire 
oi the Hapsburgs, which then comprised Germany, the Netherlan- 
ds, Burgundy, Milen, Sicily and the colonies in America and 
Asia. The enterprising spirit of the Spanierds, in whose coun- 
try the affairs of foreign nations were settled and the fates 
of distant lands determined, rose without restraint. Already 
in 1482 had they discevered a new world; in 1519 a great Span- 
isk realm was founded beyond the ocean, the kingdom of Mexico. 
fhe maritime commerce took a new and sradd development. Its 
most important starting and terminal points were the Spanish 


(2, harbors and Spanish cities. From the new parts of the world 


flowed into these unknown wealth. 

In this time of a magnificent national and material advance 
great problems fell to architecture. The cities of the South - 
were wrung from Islam and required impressive cathedrals; the 
extension and deepening of the Christian faith was required by 
the church and demanded the foundins ef influential monasteri- 
es and their energetic support: the princes and the great of 
the country longed for new palaces, corresponding to their dig- 
nity and their wealth, and the cities in their public buildin- 
gs scarcely remained below the increased requirements. Thus 
the conditions of the time existed from the end of the 15 th 
century for a welcoming reception of the Renaissance forms pe- 


aeeer . ty “4 stented daftnsae ofiioeqge «& 
t sta. edt at vel beta houstedan veoitsma detasq® oft to stig ad? 
| semis? diiw ountxim Saorta ett yd fatnemsaxr0 bas aupzo rst 
oF -elyte biaoll odd bus sizta asjebsli ed? .boold {etasiro 
s$eedoiy 94% si ed beouSora e19d (GEL. fot esasq) (obizoLi of 
» 9d9 ak notigevai tae asilesi odd basol ois ai t9Y .stinel 
$s ,mainsg20 [sautostidois beteflqmoo fas.bstisay a to soitssx9 
. eldstebtesooat toa odt ot B8attafe1 anoitueonoo edt ai tesal 
~dsdneesiges iagtoarag edT  .agitalugqog edt te t1sq supssasa08 
T wort Snttetkias.10 Ssifso etsatidorws edd gisw seedt to seve 
-[astidel edd mori etosdsidosws agies0lt asdtzo eshteed odw .yisal 
“G90 go) oonen(tai Sntaimieted s s19w ,yasmie® bas soasig .2bas 
-dmed edd teonl .exetosdiders detaaaé to axaow [sqioatiq aisd 
-legmr bas anoitibaoo sdifna dowe To atostte Leifaxeq bas beat 
-tevib tilswevas as benistts sisdoedidoss fataegs ,seo10T gait 
yh ne -Jasmaoleveb bettie 
=108 edt ai ts0G08 eoaeaetsneS edd to e9oneultat seetiass odF 
~edt ovitea “oosetotel” ode at bSeebat bas nisge to tisd axeds 
-® .(88f 0259) 08D! 1294 odd Svods Batanigzed esi Osa Jans ,9% 
«Sluts eyttaressh «6 es sisecgs aninatked ati at oosex9eteiS oat 
-“nemesnto bas Set¢emise ,eciaqiontaq ofdtoD no baagoleveb yitetdo 
Saatasxel « af eeiva etiartioh ¢uodiiw asasmels detioow ya bes 
 -meqt0 eoneeaiensh dotdiw at..seddo doses no bas sbtesd Rarquora 
“asq 36 .seRetit sdf ao ,s0ss9ve odt at beigutaresnt o1s etae 
steve otf yilnteosta bas yiseool .sAif eas das esaousn10 ,ale 
ze » vilsubers 918) em10% soasesisneh of? * .dwow at dtimabiog dial 
; -d90 ,eantblvom bus) eamufoo sidalebss9 .eyetasiiaq yd beassaoat 
won od® evitsro0eb ylextsae 2s devigonoo deqit ta oxa doidw 
b ~msate\ eds af bas stosoVIve sad at steantmobesq yilsvbse1a emt 


oo sa. Se! 


a 


sae 


# oq eda sfqusxs 10% ,etaow atatico ao), baiwerb ai siva ylisen 
| ode a beasege ybeou ls. obefo?, ai se19 stas@ to istiqeod odd ts isd 


oad to, meinss10 oft to. 390 Bnimors at mee 
Se WA 


99990 mo00a ataomsnto [fotos bas. eoupaedsis ated? .adaom Lada . 


- lieve a8 e6 Tesdqe sds nove yeds so¥ (TFS, bee): 
ng ee) 


, j at 
ae 
. ee 


208 
penetrating from Italy, and the external conditions of life w 
wire particularly favorable to their development. But by the- 
ir forced growth were they compelled to accept materials from 
the different soil, saturated with the precipitate ef the pre- 
ceding art periods, which changed their character and produced 
@ specific Spanish coloring. 
fne gifts of the Spanish nation substantially lay in the pic- 
turesque and ornamental by its strong mixture with German end 
oriental blood. The Mudejar style and the Florid style f€esti- 
lo floride) (pages 141, 142) here produced by it the richest 
fruits. Yet is also found the Italian art invention in the 
Creation of a unified and completed architectural organism, at 
least in the conceptions relating to the not inconsiderable 
Romanesque part of the population. The principal representat- 
ives of these were the architects called or emigrating from I 
Italy, who besides other foreign architects from the Netherl- 
ands, Prance and Germany, were a determining influence on cer- 
tain principsl works of Spanish architecture, Under the comb- 
ined and parallel effects of such unlike conditions and impel- 
ling forces, Spanish architecture attained an unusually diver- 
sified development. 
fhe earliest influences of the Renaissance appear in the nor- 
thern bealf of Spain and indeed in the “Plateresco” native the- 
re, that bad its beginning about the year 1480. (Page 142). P 
The Plateresco in its beginning appears as a decorative style,. 
chiefly developed on Gothic principles, permeated and ornamen- 
ted by Moorish elements without definite rules ‘in a luxuriant 
Sreuping beside and on each other, in which Renaissance ornan- 
ents are intermingled in the eavettos, on the friezes, as pan- 
els, ornaments and the like, loosely and gracefully like over- 
laid goldsmith’s work. * The Renaissance forms are gradually 
increased by pilasters, candelabra columns and mouldings, but 
which are eat first conceived as entirely decorative. The new 
forms graduelly predominate in the structure and in the ornam- 
j2vental work. Their arabesques and scroll ornaments soon beceme 
nearly pure in drawing (on certain works, for example the por- 
tal at the hospital of Santa Cruz in Toledo already before $514. 
(Pig. 277). Yet they even then appear as an overlaid decorat- 
ion, scarcely growing out of the organism of the architectural 


ma ie keewiels bas REE x EO ni ted .aredasa 
a : 
foots odd Qnfoasines euds .esebt to sonabauds sidisauadxent as 
so1stoetidors betesit vlivesd bas y1b yitasape1t odd to 
“.stonyed BAS seutg siyis Asisook e4% seans ast 0 fon al * 
| ~s8doc0 BUitatoosh 69 ABsaqgh emso> sonnsstnnsa han stasod nat 
~09 ‘ghd otnt boiino sioativors anueDd ed$ alodw eft nd .sotxo 
4 Ast. bp suoh  Hesdinrston e190 bao sa1edt bentones ofu ust aa 
BenAoel bod ysiT .onestesols sas (® taamgolsush sAt at tena 
GASG S190 ~Qhitod settnn sAt sons WIikQworOdd Of AdsOV odd ah 
~oF9n0s8m go ylaniusitiog (noftotmemonte Yo tan Ai at iytitas 
bus “etdbuk ads Vo ssuiltom wen sAt au 4004 ylibess dows en .84 
~iny a9 Qatouborqg suds .sonnsatonsh nosinsl sas Yo eaods <ete$ 
© SomBbavGa Aahuol ns herwoa saw tods .sasot Yo Atinsw bstimd 
-“SOt—-“gbNeiqe sit «ol (pstusers .sivoe Invutostidown tisdit tsu6 
eu -ebaginsa® gat 
dafasqS to iswolt anttezo1stat vyiomeisxs as et ooasiastalS 9a? 
taeisttis sort Seeut aoké¢sn oft to aottoeltex 2 -a0fsaexitlivto 
~Seeisaek yisse detnsaS eds to sfvtea suit ods .efgesq Io #9984 


=t30199 sw ii .OOGE tuods ts Sutnstaed eit sonia aso of sons 


ai wevison sonsesiens? to soitertensa sdt to omit sari} sdz av 
astabsl oq3 af Safteafaode1q [Lite surot to estise datasas sat 
o [sa9ne8 at outs edt to noigsatmiesse6 efds y{nistxe9 6.sivia 
9 9d? .omsossidois sitasnom bas teleo9e sds of astigqas yiao 
“987849 ofddo9 vyieiwsqg ateds OS@I fitay dasa ni anistex asdoando 
“wines di SI oft to slbbim odd dtewos Litay aeve osfs bas .xed 
- (Oat anand) .ofdtod haivsaim@obsag 8 at ylteom 518 ¥4 

~tiw ,oonetetelS gdt to siyta isintoetidors ywoda sds aebteed 


_ -Giesao0 tadt {le sseasqrya oefs aottssaomeax0 tasgevetixs ai 


@oasaatsnss sieves add .asiatasoo r98dto ai beoubo1g t1s yasto 

* otis af ybsetls -- oseb ylass yloviseloy 8 ts soasasa9 basot 

- 8Oksssinkt too1ro s aa beebai .-- yiutase dé Sf ont to estsnaws 
“ude aids vist ebistneq? ont .conssetens® did asi{atr sit to 
@ ome (8\S .8f9) etmomuaom ett sod .ofyte asmod-o0579 ont of 
“if .bf09 xs0q98 yodT «Lica datneq? ao awor8 oved ton of agea 
ooestet sid bas, as(tbsil edgy to baal odd at tnafToqe1 bas aasiet 
eee Yo tneassoxt Joe1I09 OF d1sk|e1 at NBD yTOVe ddiw asve 
tradi edt of gatsaar nove et quséa [saotssn of? alias 


ws ee 


a Be, i = a ah i raat. 


7 soaas erunes dt 82 944 Yo ofbbin ont suods ooasiessld edt at 
| weal a (.B908fb90%9 svidHIODeb lo 9@0 add ni aoitstshom & ax 


209 
members, but in graceful, unrestrained and spirited use, with 
an inexhaustible abundance of ideas, thus enhancing the effect 
ei the frequently dry and heavily treated architecture, 

* In not a few cases the Hoorish style gives the keynote. 
fhen. Gothic and Renaissance forms appear as decorative access- 
orpies. On the whole the German architects called inte the eo- 
untry, who remained there and were naturalized, have a rieh p 
part itn the development of the Plateresco. They had tearned 
‘tn the North to theroughly know the native Gothie, were very 
skilful in the art of ornamentatton, particularly as decorato- 
‘P8, as such readily took up the new motives of the Mudtjar and 
later those of the Italtan Renaissance, thus producing an unl- 
imtted wealth of forms, that wes poured tn lavish abundance o 
over their architectural works, executedifor the spl.endor-lov~ 
ting Spaniards. 

Phe Plateresco is an extremely interesting flower of Spanish 
Civilization, a reflection of the nation fused from different 
races of people, the true style of the Spanish early Renaissa- 
ance. We can place its beSinning at about 1500, if we percei- 
ve the first time of the penetration of Renaissance motives in 
the Spanish series of forms still predominating in the Mudtjar 
style. Gerteainly this determination of the time in general o 
only applies to the secular and monastic architecture. The ec 
churches retain in part until 1530 their purely Gothic charac- 
ter, and also even until toward the middle of the 16 th centu- 
ry are mostly in a predominating Gothic. (Page 140). 

Besides the showy architectural style of the Plateresco, wh- 
in extravagant ornamentation also surpasses all, that contemp- 
orary art produced in other countries, the severe Renaissance 
found entrance at a relatively early date -- already in the 
twenties of the 12 th century --, indeed as a direct imitation 
of the ttelian high Renaissence. The Spaniards term this sty- 
le the Greco-Roman style. But its monuments (Fis. 278) are s. 
seen to not have grown on Spanish soil. They appear cold, li- 
feless and repellent in the land of the Mudijar and Platereseo, 
even with every care in regard to correct treatment of the de- 
tails. The national stamp is even wanting to them. [ikewise 
in the Plateresco about the middle of the 16 th century appea- 
rs a moderation in the use of decorative expedients. The Ita- 


eater ere v 

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| santapen ania? ott gaidosier suodse 49 wtiasfo of amin we 
-woda io taom 
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; eds asst4 .(883L-8882) IT aticad to aktet odd ddim antged oT 


bedenRieed bad. * (2862 bers) sbusaiel{ey 9 ooefons1? tatisceds 
-9b eds oF bo? to. aeitsiigeat sosxkb e a8 aishto [soteasio sad 
_7ésReg07a oefs aeitasonco s ,slqmet odd ‘towgmtant zed edt ts aw 
eit IT creas b£tbsM at d5ebayot s14 to gmobsoA eds yd be 
~ibute siaisis ed? .gugob to bait s ae bsiseqas soses suptstae 
“id to ediow sz018 asd? .ises te928 dttw eeln1 sugtt¢aa ads be 
“8% ai beistiih visoogpert doitw .slyse naibalisd Iseasviay Js 
-9d uslisia ods mort ad1veo 908feq sft ai agsto oasis bas sobs 
od? -aotteool ied vd vino .gobsod bas ssaeoi¥ at agatbli 
satiswedt at besesa stif to taeuyotas bentesitesins das I[ytasero 
iptoutte wet odd aco sud  ,meioieasio eeeletess bas tiise 8 of 


Sas eretatoio .aistxog. no ylas{soidisq .woda 10t bsaktasb as 


aeifigoeq 4 eaiesox e1edt ,ecosieq edt to atotsetat sdt ai ovals 
Aton Istaensnz0 W8a tot eonsteteig 8 aitiw sauvoetidowis darasgq 
i es -9mf7 efdt ak asve 
_S 2m Shs 3B Han S49 Ao ASting slits o sow absoqioilsy # 
ats Hugih Hap heausosm SoA SK .nenotsStoaxa tnentims as smti 
“ont AS > ban Bx © ods hasolennat wonshisud somod exomol taom 
= ging Tom esi of bebba sA ban .Stwsostiiforkh mo oF S482 Yo se 


_sisnag wisps Ae tAsment{et eips 9 oho Sud .ONintnad Aguortods 


) -MBISFIILK Hamass setos Heitesesth sat ms gisoiue 
, pat -besaiines mefoteas(o II agilida fo etoaaenoge ods noma’ 


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7m3d3 advedidois sad ddauota oats sotaiasas edt to Snifeak is . 


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.» 0 taebasaeb vleaitas pentaner baa davol 343 ai Seasl Js asi 
o ffshs aslg banosg Lagoitea ans "edaye Ipibediso ofdsod ada 
ai begoleveh ybsesfs dad ti as 2988999996 fsisash otat aneo 
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ati beqoleveb 19 ven aust oetifors sosisS .(f8f 9369) .qistaeo 
- anal reri 13 (0308599 scassaisaai ulase ed3j al .sqyt awo 
” toda igwol bebivioas .aomnoo yi isioegas e868 s9bsost tdgisa 
| ~ve ite 7 eno 8 gaoiogoss bas fisme va. Sossaias gino ets 


are a a a Se 


my . ave tk rite -" » 


+e + 


210 
Italian Renaissance forms are more freely adopted, the organi- 


SH Wins in clarity, yet without rejecting the Spanish require- 

ment oi show. . 

244 The period ef the matured style, the Spanish high Benaissen- 
ce begins with the reign of Bhilip II (1556-1598), After the 
theorist Francisco de Villalpanda (died 1561) * had designated 
the classical orders as a direct inspiration of Ged to the Je- 
ws at the besSinningcof the temple, a conception also propagat- 
ed by the Academy of Art founded in Madrid by Philip II, the 
antique canon appeared as a kind of dogma. The artists studi- 
ed the antique rules with Sreat zeal. Thus arose works of th- 
at universal Palladian style, which frequently differed in €a- 
cades and also often in the palace courts from the similar bu- 
ildings in Vicenza and London, only by their location. The 
cheerful and unrestrained enjoyment of life passed in them in- 
to a stiff and tasteless classicism. But on the few structur- 
es designed for show, particularly on portals, cloisters and 
also in the interiors of the palaces, there remains a peculiar 
Spanish architecture with a preference for gay ornamental work, 
even in this time. 

*® Villalpanda wae a fertile writer on art and at the same t 
time an eminent practitioner. He hed measured and drawn the 
mest famous Roman buildings, translated the 8 rd and 4 th Boo- 
ks of Serlio om Architecture, and he added to this not only a 
teorough trakning, but also a rare refinement of taste, perti- 
cularly in the direction tater termed Atticism. 

24° Among the successors of Philip II classicism continued. The 
unusual advance in the sciences and arts and the tense nation- 
al feeling of the Spaniards also brought the architects them- 
selves to their senses and to a freer expression of their pec- 
uliaer mede of thought. Thus in church architecture, which so 
far at least in the North had remained entirely dependent on 
the Gothic cathedral. system, the national ground plan again c 
came into general acceptance, as it had already developed in 
the middle and southern portions of the country in the 15 th 
century. (Page 141). Palace architecture never developed its. 
own type. In the early Renaissance rectangular plans with st- 
raight facades age especially common, undivided lower stories 
are only animated by small and tasteless windows, richly dev- 


08 ut ane) Mi dist iif Wer astiota 1saqu beaefeveb 
aH ceiton istom Satllsces egnisearo toor (ssasmeaxo bas asot 
ony og sd¢ moult Saitosiorg Jvodsiw bus yltoo1td ogt1 aefbas 
-eo1stsidetas baa asiegol dtiw esastouasa sifi-tswos wol 
“diteetis bes Sa0f tol s0as19tsi1q uisties 8 bas agailivd efeas 
=04 9d¢ 00 ystisilsseq datascS s mot coals sbaost 903 to ssail 
ag qwetitel sii seiwiedto tu9 .sonsaegisaed dsid sd3 to ezatblet 
-saom ,ssoqeuftar atetot tsbav basse santoetidors bas asle sid 
“0896 sd3 to bottsq on? .datbasfiedseA bas doaex® ,natlesT yi 
-a)° ee qifidd to nates sds déiw soods asaolo sonsagisash dat 
-(288r bet 

Yer soaseeisaed yviuss eft to etnemsnon Sasitoqar Saou sa? 
“~sdef9 sdi ered? .anoitqooxe wet doin aieq? aredtaan at bavot 
-oitiagem Stbaslae ati soasbauds tasiagxel ut beqoleveh osast 
*953x8 siftne S43 no 28 [low 2s lersdetols bus afesioa ao S008 
_=bedtso odd to a9teiofo oft a8 .sautostidors Isqtotat bas fsa 
ted yitos1th stiup (frat asged) sfleseoamo” ob egsitas® to tet 
bas asfogaoo ,esseitt souseetaash <19N0SM Bitimasds teom sat ak 
-diis% .emr0ol lavestbem asented bsisloaredat ore anautoo Lilemne 
(O3GI-0862) nosed to fexhedsés0 oft to a9tatols odd at besaavbs +19 
“ub yd befoe19 .s19dd eoo1sM .2 to viedasnom odd to shsost an 
~ftse7s teeldon odz déiw betasoo ai (SIL xssts) soisbsd ob ae 


~do%s dotasifa ett yd alfsosy ytote iewol od? emis sdt %O ano. 


-gau edt .¢fetil isqus to ss ot¢neoortdegd ods at doum s1pdo9se 
~asasnte Sosiasxel saz bes ensuloo sidslabaso eds déiw yiote +9 
vlues datbasixedte ads ,eedsin bas awobaiw sat xsvo daow Lat 
bobiotis st says sidd to sflomaxe redois [lige A -90oasauisass | 
=SsfoT at soz9 sins to Issiaeod ait of {[stxoq [weiitusasd sat yd 
s@feseuc8 wort asd sb suptaad toosidoxs sig yi (Srst-s0ar) of 
eresaam Isids edz to sae obeloT at asssolA oda nO . (TTS ar) 
‘bstos19 .2eideiisvod osdotlA .soaseciaasl viase -detnsae ad¢ Yo 
“08 satwoifl wid word ~.obsos8t naodtaon osesisdel9 edt VEEL ak 
S tadeylos Satsoumi oat bas aditaed vawatste Ivtitused 363 aon 

_ (86D) aersmel ob elsofh ts o0818q e*qodetddore six to s3a00 
a to staowunom ant cont bas etorsmyi .efebom austissI aatlisoor 
Lsttog sdf .sonsms{s@ yd beeesegod ora siyte ooesietel9 aia 
~Ousisas ows oid revo betoeys 2i (OS8t-atat) wwiarevias gdf to 
_ tlorttse essty wode 8 @8 .ewobaiw soodsiw eetaota s5udt at 25 
goowted okey bas avis ,etetier oasatt to bea0qmon 


a) 


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i 
f 
4 
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= 


211 
Geveloped upper stories opening like loggias, showy main corn- 
ices and ornamental roof crestings recalling metal works. At 
‘angles rise directly and without projecting from the facade, 
lew tower-like structures with logsias and entablatures. These 
angle builings and a certain preference for long and unbroken 
lines of tne facade also form a Spanish peculiarity on the bu- 
ildings of the high Renaissance. But otherwise the latter in 
the plan and architecture stand under foreign influences, most- 
ly Italian, French and Netherlandish. The period of the Span- 
ish Renaissance closes about with the reign of Philip TII. (D- 
ied 1621). 

Fhe most important monuments of the early Renaissance sre f 
found in nherthern Spain with few exceptions. There the Plate- 
resco developed in luxuriant abundance its splendid magnific- 
ence on portals and cloisters, as well as on the entire exter- 
nel and internal architecture. On the cloister of the cathed- 
ral of Santiago de Zompostela (begun 1511) quite directly but 
in the most charming manner, Renaissance friezes, consoles and 
small columns are interpolated between mediaeval forms. Fartk- 
er advanced in the cloister of the cathedral of Leon (1520-1550). 
Pne facade of the monastery of S. Marcos there, erected by du- 
an de Badajoz (efter 1514) is counted with the noblest creati- 
j/ ons of the time. The lower story recalls by its pilaster arch- 
itecture much in the Quattrecento art of upper ftaly, the upp- 
er story with the candelabra columns and the luxuriant ornamen- 
tal work over the windows and niches, the Netherlandish early 
Renaissence. A still richer example of this type is afforded 
by the beautiful portal to the hospital of Santa Cruz in Tole- 
do (1504-1514) by the architect Enriaue de Egas from Brussels. 
(Hig. 277). On the Alcazar in Toledo one of the chief masters 
of the Spanish early Renaissance, Alfonso Covarrubias, erected — 
in 1537 the Plateresco northern facade. From him likewise co- 
mes the beautiful. stairway design and the imposing columnar c¢c 
court of the archbishop’s palace at Alcala de Henares (1534), 
recalling Italian models. Numerous and imposing monuments of 
the Plateresco style are possessed by Salamanca. The portel 
of the university (1515-1530) is erected over the two entranc- 
es in three stories without windows, es a show piece entirely 
composed of figure reliefs, arms and arabesques between decor- 


hase Sa 8 
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at en Ehenuaheeshs Aabhoonte af Saibiftwd doawsdo ¢eait oAT 
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212 ) a 
decorated half columns and BAN cad Fe Allied treatment is sh- . 
‘own by the somewhat later portal of S. Domingo there (1524- 
1520).. bike many portals of churches of this time, it lies in 
a wide and high arched niche, that affords protection te the 
fine sculptures against the weather. Palace Monterey in Sale- 
manca is a richly developed palace design (Big. 280), charect-. 
eristic of the Spanish early Renaissance. The highest perfec- 
tion was reached by the decorative style in the unfortunately 
never completed city hall (Zasa de Ayuntiamento) at Seville. 
(4546-1564). It is nearly the sole work in the South but has. 
&@ richness and beauty inferior to no contemporary work, and 
perhaps never again attained. The chief masnificence is shown 
by the eastern side. (Fig. 281). The lower story here has Gon- 
posite pilasters, in whose panels rise arabesques in the style 
of the ttalian Quattrocento, the upper story being subdivided, 
partly by fluted Corinthian columns adorned by garlands of fr- 
wits, partly by candelabra columns, the entire facade being 
supplied with structural members and the wall surfaces with 
most lavish sculptures and ornamental work, 

fhe Greco-Roman style is shown as the earliest monument by 
the palece of Gharles V (Fis. 2/8) erected at the Alhambra. 
This has a rectangular ground plan with a colossal circular e 
columnar court, in which the entablature rests directly on the 
columns. As on the facades, the Doric order is employed on t 
the lower story and the Tonic on the upper one. As architect 
is mentioned Machuca, who had charge of the building from 1526 
to 1538. After the court and three facades were constructed, 
the structure remained unfinished. The palace exhibits a ele- 
ar arrangement, a complete domination of the architectural ma- 
sses, and sharp, refined and graceful details,,that approach 
near to the architecture of Sanmicheli. (Page 220). It appea- 
942.28 in its universal style in the midst of the surrounding buil- 
ae dings and the entire landscape as an expressive symbol of the 
position in the world assumed by Charles V. 

The first church building in expressed Renaissance forms is 
the cathedral ef Granada (page 142). Enrique de Fgas had con- 
menced the structure on the basis of Gethic lines in the plan 
as a five aigled plan with six continuous bays and the extens- 
‘lon of the outer side aisles around the polygonal choir, but 


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; ia Oy) @ -bot1eq &afbeesora edz te alyte edt to: re8t981 
Spebichoe: bas stolses s If gtitad at bed conseatsned data gn? 6 \°. 
‘foitersqesq sdt at yifenoatea s18q Yoot anid ed? .noassa oi 
~afreqae odt ni yisoerth boxetzesat oes bas .eoefo antbLiod to 
| “nommod sd ,aRiex aid To atsey teri eid ai vbserf4h .90nebaed 
to: Joo? odt 3 bas Hizbs to fesrdtaon 2eliavGlTS snoe te bao 
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\ Eeseofoe « 66!~S.Gh at bengitosssa od st nT .(068,.259) Ls 
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°8.666 bas 9.882 to eshte dstw olbastoes 6 2¢ wx0t bavore ent 
~=tasveds’a0 tads .gntbdLind eit to esaiw asot yd beeolonus ..5% 
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a 

only the foundations were completed. From 1528 D&ego de Siloe 
(died 1563) led on the building; in 1561 it was dedicated. The 
architecture remains within the limits of a very severely con- 
ceived Renaissance, still. under Gothic influences; the ‘vertic- 
eal lines are strongly accented, the piers are energetically 
subdivided, not in the sense of the overloading of the Barocco, 
but in that of a translation of the originally designed Gothic 
piers inte Renaissance forms (Bis. 282). fhe nucleus of the 
choir is formed by a central building with ten sides occupying 
the width of the middle aisle. The vaulting follows with rich, 
but purely decoratively treated star vaults. Biego de Siloe 
is also the builder of the cathedral in Malaga (after 1528: F 
Fis. 283), which in plan and treatment freauently recalls that 
in Granada, but on its visible side differs from that advanta- 
seously by the well weighed subdivision of the structure into 
two nobly treated columnar orders between the front towers. 
According to the building period the cathedral of Jaen also s. 
still belongs to the early Renaissance, begun in 1532 after t- 
plans of Pedro de Valdevira. On it again appears the true na- 
tional church ground plan (Fig. 279) as a rectangle (223.1 ~x 
144.4 ft. in the clear) with three continuous longitudinal ai- 
sles, a transverse sisle, chapels along the outer side walls 
and choir end, and two flanking towers in the facade. The ar- 
chitecture of the interior and exterior already bears the cha- 
racter ef the style of the succeeding period. 
/o Phe high Renaissance had in Philip II ea zealons and energet- 
ic patron. The king took part personally in the preparation 
ef building plans, and also interfered directly in the superin- 
tendenece. Already in the first years of his reign, he commen- 
ced at some Bf. 0«mniles northwest of Madrid and at the foot of 
the Guadarrama mountains his principal ereation of the Eseuri- 
al (Bis. 284). In it he established in 1523-1581 8 colossal 
structure, that was to combine the church (S. Lorenzo), monas- 
tery, royal palace, library , Mausoleum and picture gallery. 
The ground form is a rectangle with sides of 524.9 and 656.2 
ft., enclosed by four wings of the building, that on the ent-. 
rance side showing a richly subdivided frontispiece. The two 
side wings continue in a single line for each, but the rear 


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| ott ae eth fotmuds ed? § .aexsusonuate odti-reuos wol vd betas 
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oboe? eb stetsusa asus hbevelame exew adossiiors ef  .enmaloo 
:) feel eb asc tang $8079 wid wid ratte bas .(893L bbb) 
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eqsdieq ef 31 .bl10ow edt to t96a0R dtate sda sure ast ak bs 
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edt 108 .asacor¥ at boote aved ifew as Sdoim dotdw bas .sease 
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pet wat ‘age weg Litaw evil ton bib t9otesa sit oud 


~~ ra. ~ "lea 


214: 
one is broken by the choir of the church. The angles are acc- 
ented by low tower-like structures. The church lies on the m 
main axis and is a central buildins over a Greek cross with a. 
vestibule between two front towers. By parallel and transver- 
se divisions is produced a great number (16 in all) of rectan- 
gular internal courts, all surrounded by arcades on piers of 
columns. As architects were employed Juan Bautista de Toledo 
(died 1567), and after him his great pupil, Juan de Herreré. 
(4530-1597). Both had received their training in Italy (Napl- 
es and Rome), whereby is explained the architectural forms en- 
tirely im the Italian charecter. The church of the Escurial 
(Pig. 285) is Herrera’s own work. hikewise Vignole, Alessi 
and Tibeldi must have furnished designs. The Escurial was .cal- 
ed in its time the eisth wonder of the world. It is perhaps 
the largest architectural undertaking ever conceived and exe- . 
cuted by a single man, indicating the royal nature and person- 
ality of Philip IT, whose spirit of rigid etiquette, sullen n 
nature , gloomy and petrified religiosity, are expressed by t 
the work, but otherwise is without Sreat importance in the hi- 
story of art. Seon after the completion of the Escurial, the 


9/2 king commenced another great structure in the north of Spain, 


the cathedral at Valladolid. (After 1585). duan de Herrera d 
designed for at a grandly conceived plan in the basal form of. 
a rectangle 452.7 x 229.7 ft. in the clear, with dome and four 
angle towers, but he was compelled by Gack of means to premat- 
arely terminate the construction,, after scarcely one half was 
erected. Herrera was the most important Spanish architect of. 
the 16 th century and the supreme architectural official of 
the country. His exchange (bourse) at Seville (1584-1598), a 
rectangular structure, ‘its exterior simply subdivided by wall. 
strips and Tuscan pilasters, #enekosinsg an impressive two story 
court with arcades on piers, treated entirely in the Palladian 
sense, and which might as well have stood in Vicenza. For the 
castle in Aranjuez in the midst of an incomparable landscape, 
already commenced by Teledo (1561), but stopped on account of 
the erection of the Escurial, Herrera designed in 1571 new pl- 
ans at the command of the king, whose execution was then besun. 
Bus the master did not live until the completion. 


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. i : 9Re@) aodaeta 18908 sdiletsi to yiedasnom odd yd bomt0t ei drow AA nN 
s(SEh-G@at) ¢2019 og LovasM yd O08! us9y oda at dbebrsot (ds. hae 
ei duow isavtossidois teluRate eiddt to mottz0g taeoitiaaes edP 
bas offiteasd ob osob ed .S8S .ai4 at Sotneeoraer isteiecio Py. 
edt -easo yas at ,ivtivuesd teom ods aysdisq (OG sat0ted titgd 
edd z9¢%0 [teal .eteseiofoyresasnom [Ls to dasoitinges jeom 
t18 905 0f beredbs ezowg0t109 edt yaudaeo dx SL ads to slbdta 
-sd buswao S882 wort fuods bgabaT -bofseq teed stieds to sivte 
9 Sid-dtiw gouseaiene® to nofeantai teknoita . sldisgqeo1s9 omao 
. -G, s(Vebopsd) .sdlesged @s catistisact esileqs? aia te sighal- ve 
 "6iebas tuemaoleved Ieuoisaa yleritue oa aistis soa bib ti tu8 
! -a8 so0nebso9b ota vigesb asiist bsd yidawoo ods eoatse .ysiiss 
wae? ogaiiid .OVEE teogh = .2afd Js998 sda to asoagsooua sdt 9b at 
_ $ to motdssivat ao Seebat .{sautgo of easo yisvI isqqu to ix | a 
 whidowe SYGI at ahd bstatoqgs nattasde2 aatd off  .atitaesl ods ) | 
»& To daetidois oms0cd oals od sede :e20sleq Lseyo1 aad to tos 
“perenne ehatbhiftad esotsmuna Ostoe1s fasel .anokissitisaoi and 
. lo domsdo odd madd [noms . eles asgqe to eetot eg ¥I9v ai ao 
(eB Movatididxs sbhaost seodw (0862 tests) g10% 36 otaz0i¥ 1B 
. eveda ,19610 oiteG.tee18 s to alsvisiat eaxds ysote sswol data 
+ gt@)serewod wol ows yd badaalt bas .936%0 asiddataed s sated ae - 
Ylotktae 10 yilettisa sx9w eoustowide a9dt0 to eetise, 4. {TSS ayy. 
-109) .sidmted ai saiwedig 820 to sisepdgase edé.ai boyoutesh 
 - aswok) seaniblind teex8 a0 boashae asm texe? ,ram0dT bas 0. Oe 
"x8 ofw .soaseaisasl 929ug07709 beaolsyeb ed¢ Yo sosdidos dt 


ti Aes St ey 
‘| s 


- eflteatyboyolaue exssesa [Ms aoqu. sosentiat antdioxtaco s beste x 
; ie oieldil me. ig : . »-bebteaqg tedd ak yitagos A a 
oe skin: Od isi since Cee 
:° ;.. eR a ‘ “i hea 7 
ieee ee senany . 4 iter ns oh lal 

Oia ae W Abw os ko 5a 


ie OCS ON ee 
af hein? i ‘he mt 9 


n 


215 
The severe academic tendency introduced by duan de Herrera 
influenced nearly all buildings at the end of the 16 th centu- 
ry and even prevailed at the beginning of the 17 th century. 
IN PORTUGAL the early Renaissance is characterized by the 


“Wanuelino style” (estilo Manueline; page 146), whose chief 
o)pwork is formed by the monastery of Batealha near Gisbon (page 
148) founded in the year 1500 by Manuel tae Great (1495-1521). 


fhe magnificent portien of this singular architectural work is 
the cloister represented in Fis. 286, by Joao de Gastilho and 
built before £550, perhaps the wost beautiful, in any case the 
most magnificent of all: monastery cloisters. Until after the 
middle of the 16 th century the Portuguese adhered to the art 
style of their best period. Indeed about from 1533 onward be- 
came perceptible . stronger infusion of Renaissance with the 
loggia of the Capellas icparfeites at Batalha. (Page 147). B 
But it did not attain an entirely national development and ma- 
turity, since the country had fallen deeply into decadence un- 
der the successors of the great king. About 1570, Filippe Ter- 
zi ef upper Italy came to Portugal, indeed on invitation of t 
the Jesuits. The king Sebastian appointed him in 1572 archit- 
ect of the royal palaces; later he also became architect of t 
the fortifications. Terzi erected numerous buildings in bisb- 
on in very pure forms of upper Italy, among them the church of 
S. Vicente de Pora (after 1590), whose facade exhibits on a 
high lower story three intervals of a great Doric order, above 
being a Corinthian order, and flanked by two low towers. (Pig. 
287). A series of other structures were partially or entirely 
destroyed in the earthquake of 1755. bikewise in Coimbra, Por- 
to and Thomar, Tergzi was engaged on sreat buildings. He was t 
the architect of the developed Portuguese Renaissance, who ex- 
erted a controlling influence upon all masters employed in the 
country in that period. 


idle ea. nae? 3 - 
Rh ai iifuidverrrantdibbaatersess BH ALE 
eae -  ,elyt? bas woitalov’ [eotroteiB .1 


a pers ne ebietso Yisasoo todvo yos ak osit yleezolo s10N 
| SblssT edt to ssid of aatld coxa efbdtm odd anibosoose dis 943 
“9809 aisdéion [ls at 26 .s49d setwedid Besbal .eoasecians® as 
ads ot betasba efaaivotsisa tiseti Gevorg [toe edt bad .seird 
_-«-- 9F 4OT anotsibnoo (saad edt oone1% at setwiedso t23 -OLdtod 
_ -|a0¥et e2eel vilaisastedse sie em10% sonaeeisash to sonstasoos 
 bestks vlisciseisis as 618 doueTl ea? .otedweets asdt .9i 4a 
‘eemds tesel ts mori bevias’ aaw taeda .elgosa supesasmod baxim 
| ~stiatiar baste bas .sins1% bas ensmoh .ef{usd edd .a9981 teo78 
 @dt meds .tesoexsdo bas Hoktsvixed ut anstisgi edz 4918090 yi 
- %e eoontvotg aawo ylsemrot edt al .sae® sat to anottsa asito 
-ai qeeb bas tosiib a bessfo1exs bsd eupitas sit sonar atsdsnoe 
| wen baided tiel bed bans atti bextlivio axttas edt aoqu eonealt 
L208 Oftettie sit betostts ovad teom dofdw ,einemunda ssoten 
“188 Swi Saittetebacaesa s19d3 aotsslvqog suprensmo§ ent to ea 
eds bagyed ansiiss! betlis efisioss sat a9 toda oF 1slimis 1984 
_ =f09 istenes bys Isnotge1 .ofsamifo ods mt satwadid .t¢siaaort 
| eltasessoea bsoudora ditdw .eetkolans vnam wei str to enottrb 
, ~anuees adt ti asve bwA .eta0n sxe sas at enoteeetuxe omse sds 


| Settans Sm eeaed seeds mort elisaresut hets!anoo aaad sven bi 
u 


q “eassaisacs doasi% edd sroted .sselnqmt begattn0d bus cs96 s10M 
ate asalvqmt saoaT “Usiteset Ons Jnemqoloveb a3 bedoses 49 
q ho ee to gasve 68 woTk vistaco da @t eaj to bas sas ts bas 


aslied9 yd dedsstebay vars edt to akteqnso edt yd .aeitio 
Xie toetorq ot 19640 at ,S8at sea¢ odd at eekasi os (89bI-S32r) 
"bas aedotwdo astiesl bibaeloe on? Leoasttaedat to siais gid 
Baraat aid bus Qatd sds no aoteaerqgmt gseb & sbsm 29andag 
iy hey ace ak sheaeiatiens more ants cee ‘to asta 943 Ssvtennos 


‘ Pb ebabboid gree sie wots gnome’ edbrdae nates? to ae 


fan sees sogascoug ais -8H04109 8h Odtmemod bus (GIS esa) 
. eT ae ws fh eae oF Seuntsaco (Erax beto) 


Ne ey ie ee’: r ea Y 4 ila 


00" Soasseiansd donet% od Yo notsulove 943 .gitnsi 928° enokt 


odd YO nem teeth od3 bas dortsnom domsyTe add dotdw vd .vtodsid 
Teal odé to axon Lerbsoedidows Skt wond oF baniasl vitavoo . 


[et b54t0091 ¢I 9 .asonauLtnt aSiscot seodsix bas aonsbasasbat | 


* 


.& 
Ss {~~ 


5. 216 
one, 3. RENAISSANCE ARCHITECTURE IN OPRANCE, 

! ‘Be Historical Evolution and Style. 

More closely than in any other country outside Italy does t 
the art succeeding the middle ages cling to that of the Itali- 
an Renaissance. Indeed likewbse here, as in all northern coun- 
tries, had the soil proved itself particularly adapted to the 
Gothic. But otherwise in France the basal conditions for the 
acceptance of Renaissance forms were substantially less favor- 
able, than elsewhere. The French are an artistically gifted 
mixed Romanesoue people, that was derived from at least three. 
great races, the Gauls, Romans and Pranks, and stand infinite- 
ly nearer the Italians in derivation and character, than the 
other nations of the West. In the formerly Roman provinces of 
southern france the antique had exercised a direct and deep in- 


fluence upon the entire civilized life and had left behind nu- 


merous monuments, which must have affected the artistic desig- 
ns ef the Romanesaue population there preponderatins an a man- 
ner similar to that on the racially allied Italians beyond the 
frontier. Likewise in the climatic, regional apd general con- 
ditions of life lay many analogies, whilh produced necessarily 
the same expressions in the art works. And even if the assump- 
tions are fautiy, the evolution of the French Renaissance wou- 
ld have been completed internally from these bases,amnm entire 
independence and without foreign influences. It required far 
more deep and continued impulses, before the French Renaissan- 


\% ee reached its development and maturity. These impulses star- 


ted at the end of the 15 th century from an event of political 
history, by which the French monarch and the great men of the 
country learned to know the architectural: works of the Italian 
cities, by the campaign of the army undertaken by Gharles VIII 
(1483-1498) to Naples in the year 1495, in order to protect hb 
his right of inheritance. The splendid Italian churches and 
pabaces made a deep impression on the king and his knights.He 


conceived the plan of erecting similar buildings in his own k 
country, and further called te France in the same year @ seri- 


es of Italian artists, among whom were Fra Giocondo of Verona 


(page 212) and Domenico da Gortona. His suecessor Louis KID 


(died 1515) continued nis endeavors, and Francis I, a powerful 


ave | py 

a! is Ee lar sonetes bas dis to 19 OmOIg acolses s hae d2iscom 
oy sa3otos wort off1e8 ip teiroeds edd heqwoea eisdso &g0ms oz 
alte aid m0 betarss Niisotdemoteye .soiviea sid 10% (88S sasq) 
| is? .e99meupsea00 athills djiw eouseetsaed asiissI adt 2aaibd 
~at Jaebaeqsb yitifdoa To anil baoosa edt bas tay0oo sat asw dt 
-2f ‘eds to atebssige bas isdiogaue odd as beiseqas odw .noe1s 
~simobderg atdt s1edd bsvisos1 $i ydeted? .sons7% -at sonseaitaa 
19306 G8" doituiove siigae edl .sig0o ods Yo t9s0s18d0 Quite 
eto0isieaT -bsmea aaaid dasisittib odd to eagfea sdt yd bonina 
x “asa ed setts ebotasg Jasisiitib edd Séea3ieebh oais doazsx% sdz 
ifs To teat? as%8 Svidsm1ol sis soak .edoracon 41fe07 Yo ee 
~idsotiinos19a bus eaotisinezeiqgey betttaarb ret sviee of Ssvad 
-318q 3aidbsel ods eoxdas stutostidoss e@I9R0G Lsyoxr odd to ano 
“48 29nsbaeq9h 36 aoitibaoo s nt 189496 sxusaigoe bas anizaiaS 
deat | : .ti a0 

edt Devaitnoo (Ghat) I atoas1% to akie1 adt Yo bas sat {ital 
ot 2926 9fbdin edd to bliow mxct sds woxt noitianead io botieg 
8 doae7? sds Ssoslq sved sw sioteisdT .eiyte won besatsa ead 
“te aussiado oat .obér [fit O0GL tuods wort eonseatsask ylasa 
edt moxd saomqolevaeb ifeds Yo moitinkooe1 eds timiea suid eins 
ob Isistostidois tals3e11% mroi Llita you? -2itess (syasibon 
10 eno aistno> .Jsom bas ilew s yd bsbasotise ets teds anata 
yoda ted? .beaasiss oe 318 eantiliud aism edt bas .séag0s e10m 
; ad djiw .togod to tavoo ods .tis09 36973 8 Bavors beqno1g 948 


J we. oe 


5 ~aad) dau09 saat brodue sav bawol ak .daw0eo sds io san sax 107 
3 ‘eotkas egeiasv edz gh .katqosdseuod sdz 10% Hshiaetai (anos se 
pan -Onuox ylstaom {lite 918 dotdw .atewos baase usstedo 343 %Xo 
oy as evise bas eaasteb to 22001Nq ateds teol vbse1ls sved 
ae ~Isaa gated t1s0o aism sd¢ to aisai0e ad¢ 3a (888 ~3i®). amoodt 
3 ~ftio odd mi betsoo!l geosisq otsvisa sf®  eranog Yeawiisss ist 


“ue 
iw 


atmo ois din bag .0leoa isilsxe 2 ts a8fasb usetsdo odt Yo 
mele sien ved? .saneteb 10% dohastat ataouezasits 94% Yo ao 
avd mods sort beJsisqee sidiezog ti at2e1se sii aoxt USNS 


198 evisvaviseaoo oda dart -olyy B a8 eflsd wzio eas yd 


eas Gt Litas ofas0d vleviesloxe L1tss 10m casds ,2sitio ong. 


#900 asdd sod UIgsas0 me 8r one to 19d180p baoose 


sa? tonne ae A) ia 


yy Qaivise agvots isigéeetidois eids - ebfets0 .aaaktw avet 10 392 ‘ 


: motgase}tiqute & wode yileieas$ (sonsaf ai “alesoa* bemits3) as - 


=e ony asn sbecst dota 4 .tisn 3ateoloag aid 8 dtiw tagoo. 


i si pe 


217 

monarch and ea zealous promoter of art and science, who had al- 
se among others secured the theorist of Serlio from Bologna (: 
(page 229) for bis service, systematically carried on his buil- 
dings the Italian Renaissance with allsits consequences. Thus 
it was the court and the second line of nobility dependent th- 
ereon, who appeared as the supporters and spreaders of the Re- 
naigssance in France. Thereby it received there this predomin- 
ating character of the court. Its entire evolution was deter- 
mined by the reigns of the different kings named. Therefore 
the French also designate the different periods after the nam- 
es of their monarchs. Since the formative arts first of all 
have to serve for dignified representations and personificati- 
ons of the royel powers, architecture takes the leading part. 
Painting and sculpture appear in @ condition ef dependence up- 
on it. ’ 

Until the end of the reign of Francis I (1545) continued the 
period of transition from the form world of the middle ages to 
the matured new style. Therefore we have placed the French e 
early Renaissance from about 1500 till 1545. The chateaus of 
this time permit the recognition of their development from the 
mediaeval castle. They still form irregular architectural de- 
signs, that are surrounded by a wall and moat, contein one or 
more courts, and the main buildings are so arranged, that they 
are grouped around a great court, the court of honor, with th- 


.¢ pee or four wings. Outside this architectural group serving 


for the use of the court, is found the subordinate court (bas- 
se cour) intended for the housekeeping. At the various angles 
of the chateau stand towers, which are still mostly round, yet 
have already lost their purpose of defense and serve as living 
rooms (Fig. 288), at the corners of the main court being smal- 
ler stairway towers. The private pelaces located in the citi- 
es (termed "hotels” in France) generally show a simplification 
of the chateau design at a smaller scale, and with the omissi- 
cn of the arrangements intended for defense. They were placed 
away from the streets if possible, separated from them by a 

court with a high enclosing wall. A rich facade was exhibited 
by the city halis as a rule. With the conservative sense cf 

the cities, these were still exclusively Gothic until in the 

second quarter of the 16 th century, but then occurred Renais- 


1 ars 
7 "Wat: “7 900soitiokes tastamxul at ewt0l sonesatsnes 
a -d2 todas tisd ylteow exe enesitio adt to ecanod slaate sat 
--« Bataego bedow asbiw bas ssusidas sewed worisa dtiw asistoc4y 
“befquoo bas .ytote bavorwd edd at qodediow oa3 10 gofe sit a0T 
dd OfF =. am001 Saivit tot &nivese yr0se t9eGq0 ods at gwodntn 
OfUs09 94% eateso1 Sonseatsasf vwfase edt to eassostidors doa 
“8¥8 e49%s7u0 odd diiw asve oissouxre bas aslo bagorS ak agtesb 
-adted anty li <258e09sT0d gO enol ifadeb sas auttalanasis mos 
-e0T01 Sonsaaisaed otat yltoexlb eteqsisq bas elsiart 29289 
-tbdte ordto9 aistes qidgeuperl ewobuiw ad? .{@8S .e8t .egr9) 
_ +S8bs0estdo1s taluoee al .evsetedo to eleqsdo ak geve .enoteivy 
Geb) .2edo18 bawor 19900 aedors betatoa to soaly ai (ORS +3ar9) 


#) eedoqs tdkte1se ets wowmoo ylisluotsasq bas ,2eiors besesy 


“80 9%8 ewobutw edT .(atsar0d bebavet dtiw fetal fetnostaod) 
. aefwaneto01 s 1012 ea0ts saote 8s svisosy vitsom bas saiel ab 
_ "setiss bessr0ti9eq yd bsoslass 918 eénomeltiad oc? .aere tTdged 
‘tot ,aloot geste bas dkid st0% s2agstSto1g beagetaxe aA said 
| 10% bas fesobaiw toot) aremrob betsext zibibaclas bas azorsava 
etedwyiews eiseqas esitasn bedsers ylavottowred bas Lseaofoo 


“tian on efaseeta tf tod .antteeresat viemeasxe ek songeatsaa® 
-iSe to estisa etitiae na tosfsa blooo 9q0 ROfLtstasesiae1 bet 
] _=baogeen100 sive sdt to sr9d>sxeK0 [sitoeqe s tidtdxe tedd .eloo 
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| esl sag .8ofones5aed Istdo ows bestndo0e4 od yee [st9ne8 at to8 


ot aead ewottad-deas1t aisdsaos ade to eoneu [Tas sd¢ mort esive 

,0fdt08 ovitten eds atventom botoor at asttel eds 1s natisst 
“9 dt af seodt asdt 991996 2acl ist 8 at oats a46 eeo1g0e efT 
il a0? .yletl to bas déwoS 949 Yo atiow Leautoss indore {soteeslo 
onde se odt sidtageses elistil taxtt Ss etew astasazo seodn 
Og. “91009 {{tte .sottslugoe eft to actti0q dakdaax8-olis® odd Yo 
ti mort eto doymt beviaeb esw tl .eaotatao lavesibea yd bali 
87 ae sodrtl sid bas enoktentenlli Nood .wlesT az 9bso 8aigies 
ateldes Sseoord Sos eSaiveraas seqqoo .ekatwarb [eatgisto asifs 
sot 89 ai ,nolts100e6 to ebom nea odd tals Si AoW oaadd at bas 


Odase0 et edt ae 9 beissqas si as Saomeato betsuina odd aslo 
me} cy x ‘ 


| bomtster ased tasy tseva at ead soda <Wifistigoeq Isistaa’ s BB 0 Ly 
dons1t eds to siyte sdt tn aottalove eA? amis taseorg edt oF - 


76% yitoe1£ tem10t ai? .datdasr3-olled ong bas evoftad-ostia. 


oa 


~S} 


218 
Renaissance forms in luxuriant magnificence. 

The simple bouses of the citizens are mostly half timber st- 
ructures with narrow house entrance and wider arched opening 
for the shop or the workshop in the ground story, and coupled 
windows in the upper story serving for living rooms. The chu- 
rch architecture of the early Renaissance retains the Gothic 
design in Sround plan and structure even with the buttress sys- 
tem, translating the detail forms on buttresses, flying buttr- 
esses, finials and parapets directly into Renaissence forms. 
(Figs. 189, 299). The windows frequently retain Gethic subdi- 
visions, even in chapels of chateaus. In secular architecture 


(Pig. 290) in place of pointed arches occur round arches, dep- 
ressed arches, and particularly common are straight arches (h 


(horizontal lintel with rounded corners). The windows are ma- 
de large and mostly receive a stone cross for a rectangular 
light area. The battlements are replaced by perforated galle- 
ries. An expressed preference for high and steep roofs, for 
numerous and splendidly treated dormers (roof windows) and for 
colossal and harmoniously treated mantles appears ewerywhere 
as a natural peculiarity, that has in sreat part been retained 
to the present time. The evolution of the style of the French 
Renaissance is extremely interesting, but it presents no unif- 
ied representation. One could select an entire series of sch- 
cols, that exhibit ea special character of the style cerrespond- 
ing to the diversity of the provinces and their population. 

But in general may be recognized two chief tendencies, the It- 
alian-Antiaque and the Gallo-Frankish. The former direetly re- 
sults from the influence of the southern French-Antique and of 
Etalian art; the latter is rooted more in the native Gothic. 
Its sources are also in a far less degree than those in the c. 
classical architectural works of the South and of Italy, for 
whose organism were at first little accessible the art forms 

of the Gallo-Frankish portion of the population, still contro- 
lled by mediaeval opinions. It was derived much more from in- 
tersias cade in Italy, book iliustrations and the like, in It- 
alien original drawings, copper engravings and bronze tablets, 
and in these was it that the new mode of decoration, in partic- 
ular the animated ornament as it appeared in the Quattrocento 


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yy SarMatiiusodes a8 96018 eodT .softe1e986 bessmtas bas dort 
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adtsq edt ott Satnisd yfieatt .ams0t Isstaealo to sasten odd 
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«Od hele hie nish lt eeggete riaieise Revtoses bas totisdai 


- 4k ia’ 


B19 
art of upper Italy, that held the French, inclined toward too 
rich and animated dégoration. Thus arose an uncommonly pictur- 
esque transition style with miked Gothic and antique forms, th- 
at was gradually purified with the increasing understanding of 
the nature of classical forms, finally turning into the paths 
ef Italian-Antigue art, yet in harmony with the national key- 
note. A particular pleasure in luxuriant sculptured and orna- 
mental decoration then still belonged to it. The ornament may 
Ge deduced in nearly all details from that of the Itelian Ren- 
aissance, especially from that of upper Italy, but by the art 
taste of the French constantly directed toward the ornamental 
and graceful, it receives by the abundant use of figure nedal- 
lions, coats of arms, symbols and monograms an original devel- 
opment with a very fanciful and refined execution. (Figs. 288, 
289). The ornament of the early Renaissance only remains in 
use ubtil about £530; thenceforth prevails, at least in the in- 
ternel decoration, the grotesaue (page 190) under the influen- 
ce of the school of Fontainebleau, which was spread over all 
France by native ornamental engravers. 

The French high Renaissance (about 1545-1580) dsamouniell ‘wish 
about the accession of Henry II (1547-1559). Already under hb 
his predecessor had Franme taken a mighty advance. The capit- 
al Paris became the centre of intellectual and artistic lite. 
Tt also assumed the role of leader in art and maintained this 
“in the entire succeeding period. The provinces remained back- 
ward in the development, particularly those of northern France. 
A series of important artists,trained in Italy, sought to bri- 
ne into severer use the clessical laws of form learned there, 
and to purify the architecture of their native land, but stiil 
retain certain national tendencies, which gives to French art 
its peculiar expression. In the style became perceptible an 
endeavor for greater regularity, definite architectural lines, 
symmetrical distribution of the structural masses and an emph-. 
asizging of the chief points. On the noble architectural works 
the angle towers were transformed into pavilions of rectangul- 
ar design, and the chief axes were accented by projecting and 
raised central buildings; the stairways were removed into the 
interior and received straight flights with landings. In the 


a, eee 


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Be Mea beobut aoa VE yanei aebs .exew Isiooe 


220 
structure (Figs. 292, 302) remained the steep roofs, the dorm- 


ers and also frequently the great rectangular windows woth st- 
one crosses. The dormers were usually arranged directly beside 
each other, so that they form a continuous attic story. bike- 
wise the upper windows not seldom interrupt the main cornice. 
Over these generally rise trianguler or round-arched caps, fre- 
quently arranged alternately beside each other, as the upper 
termination ef the facade. Herein as well as in the arrangem— 
ent of the corner pavilions, the steeprroofs with dormers and 
monumeptally, treated chimney caps lies the individuality of t 
the French high Renaissance. In the facade system was skilfu- 
lly utilized the combination of the two stories in one order. 
The forms of details permit the individualities of the differ- 
ent artists to be plainly recognized. A new phenomenon is the 
“Brench order”, on which richly ornamented bands covered by r 


jf) eustication are inserted between the separate drums ef the sh- 


fts of columns. (Fis. 291). In seneral becomes apparent a gr- 
eater enjoyment of decorative richness; particularly in relief 
ornament, in the common use of hermes and caryatids, than in 
contemporary Italian architecture, and likewise a certain ten- 
dency to refinement of ail details. Yet is also expressed in 
this the prevalence of a theoretical direction, such as oceur- 
red in the literary works of different masters. 

Tae chateaus lost all remembrance of the former fortificati- 
ons, the wali, defensive towers and the like. They received 
a regular plan around ome or more courts, if they did not have 
to take into account already existing structures. For smaller 
works the court mostly approximates the square ground form. 
In other private architecture likewise appears an endeavor for 
resulatity and purity of the forms of the style. Shurch arch- 
itecture in this period remains very backward in the acceptan- 
ce of the Renaissance. Only on the portals and in the treatn- 
ent of the facade does it secure a greater influence. Bat in 
the interiors of churches definite Renaissance forms first fo- 
und entrance with the beginning of the i7 th century. 

Tn the last decades ef the 16 th century French art was no 
longer free to develop itself ander the unfavorable times, the 
frequent changes on the throne, and the violent religious and 
social wars. Under Henry IV: (1589-1510) indeed again appeared 


om nk easide ae peters wee ws i edt 308 seents eased 
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oe hifednt tua eeslesess sissies A .enseteno to noitosse edd at 


ent too betuiso .Teeti sot daow asides bexrstewq me .encites 
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oo bas eelbus odd .ewobniw bas syewiood of3. to eerseoLone ers 
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bedseesst com slodw edt oO * .emtow ettt boostaetor esatf mode 
+8 d¢0m od¢ ni exgengs cela doidw .eoeesm sda to toette ene od 
matist] yasioqmesnoo odT .xcow Indnemsnto to emiot bellewe 
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| Bitoni ai bevieoes efntites fos ellen Ienxetni oil .betecqas 
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ee sqso yoanine fait bes eledy aeste ,enohlivea 
. e9ronebged [enoiden ods» ben 

i ‘9 San eveieubs 263 suienicoms qs: beanse eyouls. nottootiaug * 
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y st oowpent timuteo Yo exshio bao sretenish no nees- bao .sontas 
Vo Rettominn eds “eh .eseoante Jotsommnso yloasg so\. eosin yi 
} “botiass S49 OF Lotoosdnod BAI WOTH nossionors vn so .sebsowt 
“5 enone: daotises weds doo exshto et of tsantnoo 8 en bao 
‘ ” hq: Nido .seoping .sRpssnhe sooxyn mo Havel ylanelwodinog gio dl 
a Si sl .essued stouting no seel tue yedadi sds bap es 
rah ¥ sS8ho%uAO NO bewcl uilionois 

ivvieace nao soneeefeasS peel fonsi® edd to boiises etds 104 
ae ewit ni exe eehasdo od? .timif emis steinaorqas ms cevik od 
92 _dnedtoani tt bas \Se¢initebné bas Sideisev ood efyse bas 
nitcofed ms vr bas WIX etvod to ek tytdus ent bisket 61. 
Ser dh tien § y cow ed beebni: yen eredg Soneebisaek oda. 
ar deat 780 ons to Serle eas not ae venoaeer va 

\- leteucniy, . in 


aT han 


- bE diet’ ce, . i ) 
rh ee U pete . PE es 4 


eno) [etwdoed iiovs ut yosnstqne heniassdo nedd aoisqeonoo sfary yy 


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eal 


better times. But the king saw more important probbems in me- 


asures for increase in the welfare of the people, in the con- 
struction of strects and canals, the correction ef entire quar- 
ters of the city, and in the provision of open squares, than 

in the erection of chateaus. A certain tasteless but intelli- 
sible canception then obtained supremacy in architectural cre- 
ations. Men preferred ashlar work for itself, carried aut rus- 
tication on all the stories (fis. 293), out resorted to brick- 
work to a Sreater extent, then employing cut stone only for t 
the enclosures of the doorways and windows, the angles and co- 
rnices., The Ionic and Corinthian orders lost their preeminen- 
ce to the Doric. Particular attention was devoted to rustica- 


tion: it was designed with ornamental decorations and with su- 


nken lines interlaced like worms. * On the whole men resorted 
to the effect of the masses, which also appears in the most s 
swelled forms of ornamental work. The contemporary Italian 
ariiwon a greater influence; the stone cross and mullion dis- 
appeared. The internal walls and ceilings received in increa- 
Sing measure moulded enclosures in relief, within which were 
placed paintings. But in the dest#gns of buildings, the angle 
pavilions, stesp roofs and high chimney caps were stillrretai- 
ned the national tendencies. 

* Rustication always served to emphasize the strength and s 

stability on the horizontal corners of substructures, on verti~ 
ical supporting members like the angjes of walls and thet? op- 
enings, and even on pilasters and orders of columns, frequent— 
Ly alse for purely ornamental. purposes, fer the animation of 
facades, as a transitton fron the harizantal. to the vertteal, 
and as a econtrast to the orders and their vertical tendency. 
It ts partteularly found on great chateaus, palaces, city ga- 
tes and the like, but less on private houses. ‘It is but excep- 
tionally found on churches. 2 

For this period of the Frenck late Renaissance can scarcely 


be Siven an appropriate time limit. The chanses are in time. 


and style too variable and indefinite, and if important write- 
rs regard the entire age of Louis XIV and ZV. as belonsins to 


‘the Renaissance, there may indeed be mentioned for them as ma- 


ny reasons, as for the acceptance of another, that in general 


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sedi (ftatqe won s .iew0g L[syor betiaciay ge to aoitsorttrols 
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omits sede to sous74 to snot itage Lesisilog bus evotailoa ode 
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ooh ' ,o900%89 bentertestay bas sex1t a bas meiotaaslo 

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B22 
one may not speak of a French late Renaissance, since the high 


Reneissance passed directly into the Barocce. Bat it cannot 


be denied, that after the deaths of the Sreat masters of the - 
high Renaissance, and particularly with the reign of Henry IV, 
a changed conception appeared in architecture, which in compar- 
ison with the high Renaissance shows a decadence in developme-_ 
nt, and thet on the other hand with the time in which the gre- 
at statesman Richelieu took the rudder of the state (1624), a 
and introduced his energetic measures for overthrowing the an- 
cient feudal nobility, and for the erection, strengthening and 
Slorification of an unlimited royal power, a new spirit, that 
of the Barecco, penetrated into architecture, particularly in- 
to internal architecture. Therefore we date the late Renaiss- 
ance of France from about 1580 to about 1625. 

Tn the course of the French architecture of the late Renais- 
sance appeared two tendencies, that were already prepared in 
the high Renaissance, even with little definiteness. One of 
them represents a severe conception of architectural forms in- 
the spirit of the antiave and of the Italian theorists Vignola 
and Palladio: the other saw its models in the works of Wrehel- 
angela, of Alessi and of Ammanati and created its buildings in 


a free manner, frequently influenced by Flemish art. We have 


herein a reflection of the two main currents, that dominated 
the religious and political wonditions of France at that time. 
Tn fact the severe classicism was chiefly defended and spread 
by the Huguenots. Both currents then proceed in France beside 
each other, sometimes combine and frequently refine and free 
the art designs on both sides.” The unity and similarity of t- 
the artistic expression, that formed> a distinctive: markoof ithe 
later French art, was first attained in the time of bouis XIV, 
but it then appears as a piguant mixture of a severe academic 
classicism and a free and unrestrained Barocco. 


2. fhe Most Important Monuments. 
After the reign of bowis XII the chateau architecture stands 
in the foreground of artistic creation. Ih it was developed 
an extraordinargly animated activity. Today more than 30 chat- 
eaus may be counted, dating from the 16 th century and in sre- 


at part famous, that were not infrequently laid out on such ¢ 


i ay 


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| _ylletosqas .ettod edt to mofSe% sdv ak etnengaom to s0ashanbs 
| Lane: -ei%ow tJassiogat teoa edt of ister ei9d 
a te uastsdo oda mori giste 23f dood sonsaatansa vires edt 
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~aA -a0litsd ta bas sifod siz mo sonsaaiansS doasy¥ foxkt 30d 
* ga04 ed GO06I gi b9lfs0) obaoret® s1B etotsesm msilas? saz ano 
fetsoted -2 40F sokditoqgmoo sivink steatottisa of TI entioh 
#80 Qaitsqtoisasq rzevts{ 9d7) saoti09 ostnemed mid teste das 
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ef s@gedwA is ssotsdo 9dT .sxetoetidote. doasx¥ xo sonsaliai 
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dotdw G9 .,Aiswot Havot svieasm yd babiess bas arted odd evods 
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4880. edt a0 .estaudneo Of odt to Qantuatged sax bas ad Et ond 
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~« 0 
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220 
a colossal scale, that they never came to completion. Many f 
fell a sacrifice to the storms of the hevolutions. With the 
adundance of monuments in the region of the beire, especially - 


~, preferred at that time, in Normandy and the south, we can only 


A & 
& i 


here refer to the most important works. 

The early Renaissance took its start from the chateau at Am- 
boise. There had been settded since 1495 an Italian colony of 
artists. From their cooperation with native masters proceeded 
the first French Renaissance on the Loire and at Gaillon. An- 
ong the Etalian masters Pra Giocondo (called in 1505 by Pope 
Julius II to participate im*the competition for S. Peter’s), 


and after him Domenico Cortona (the latter participating on t . 


the chateaus at Blois, Chambord, Bury etc.) exercised great i. 
influence on French architecture. The chateau at Amboise is 
an imposing complex of buildings, enthroned on a high terrace. 
above the boire and guarded by massive round towers, on which 
only certain portions ef the structure date from the end of 
the 15 th and the beginning of the 16 centuries. On the east- 
ern wing of the chatesu at Blois erected by Louis XII, whose 
history extends back into the time of the Renaissance, the fa- 


e@ade exhibits very remarkable Renaissance forms. Richer deco- 


ration in the spirit of the Renaissance is borne on the north- 
ern wing, built by Prancis I at the beginning of his reign, w 


whose court facade with the magnificent winding stairway. (Fis. 


294) indeed forms the most beautiful work of the French early 
Renaissance. About 152. the same prince commenced the grand 
chateeu of Chambord some miles north of Blois (Pig. 290) as a 
regular plan with a principal building on a rectangular ground 
area, four mighty round towers at the angles and a detached s 
stairway tower erected over the middle of the court (?) (with 
the famous double winding stairway, on which those astending 


okeand descending did not meet), whose termination by a lantern 


rises above the unusually animated outline of the roof. As a. 
architectcof this chateau is named Pierre Nepveu. At the same 
time Francis T erected near Paris the hunting chateau of Mad- 
rid, a smaller rural residence, on an elongated rectangular 

ground plan without ea court. The formerly proud but now com- 
pletely demolished showy building had in its somewhat recessed 


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224: 
middle part, in the two lower stories being open round-arched 
arcades with terra cottas (by Girolamo della Robbia from Flor- 
ence) in the spandrels of the arches, above these being also 
two enclosed stories with developed and noble Renaissance for- 
ms. The brick structure of the chateau of S. Germain-en-baye 
near Paris, rebuilt in four st@piesabout 1530 by Francis I on 
earlier and entirely irregularly arranged foundations, is sev- 
ere and simply treated with a strong accenting of verticals by 
buttresses, the whole with a massive impression, almost like 
a fortress. As the darling creation of the architecture-lovi- 
ne king is to be regarded the chateau of Fontainebleau. In it 
was establishedsua palace of immense extent and truly royal mag- 
nificence with an irregular grouping by retaining older parts. 
But in reality its artistic importance is exceeded by its his- 
torical, The chateau was frequently rebuilt and thereby less- 
ened its unified effect. The exterior is comparatively simple 
with a thorough approximation to the Italian arcaded construc- 
tion on piers with projecting pilasters and columns: but the 
interior was treated with extraordinary richness. The most i 


‘:Limportent rooms from the early Renaissance are the ballroom a 


and the gallery of Francis I. The ballroom (Fig. 296) is man- 
ifestly influenced by the style developed in Italy and cultiv-—- 
ated by Giulio Romano (page 218), wooden paneling, stucco, re- 
liefs and painting being employed in the richest measure. It 
is indeed the most nobly treated and distinguished interior of 
the time of Francis I. The gallery is 190.3 ft. long, compar- 
atively narrow and low, and in the prominence of luxuriant pan- 
els, of cartouches, ef figure and ornamental decorations, alr- 
eady permits the decadence of the style to become visible. 
With these royal chateaus the country seats of the nobility 
do not keep equal pace in regard to the evolution of the Rena- 
issance. In them the mediaeval forms ere influentdai longer 
than in the former. First during the reign of Francis I on t 
the chateass of tne nobles the bassl traits of the feudal cas- 
tle were Ssradualiy supplanted by attention paid te convenience, 
a comfortable and cheerful equipment. A very important early 
work is that of tardinal George d’Amboise, the art-versed sta- 
tesmen of Lowis XII, a zealous patron of the Renaissance, who 
built efter 1502 near Rouen the unfortunately destroyged chat- 


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220 

chateau of Gaillon, from which remains a drawing by Du Cerceau 
and the portal of the inher court, now set up in the count of 
the ecole des Beaux Arts in Paris. Guillaume Senaplt, a Pren- 
ch master designed the plan for the main building end labored 
on its execution from 1502 to 1507. The new building adjoined 
the irregular and already existing castée; but the principal 
court was already arranged in octagonal form and surrounded on 
three sides by pier arcades. The architecture had great rich- 
ness in the gay ornamental work of the early Renaissance. En- 
tirely preserved in its original condition is the chateau of 
Chenonceaux near Blois, erected 1515-1555 on the river boige 
and partly on a bridge across it.(Pig. 298). The chateau pro- 
per hasee square ground plan without a court. The angles heve 
slender round towers, and the chapel and library adjoin the nu- 
cleus of the structure. Here mediaeval and Renaissance forms 
were employed directly beside each other. The windows have 1 


)py late Gothic enclosures, heavy hermes before the middle jambs 


and Renaissance pilasters at both sides. Grand was likewise 
the chateau of Bury, also near Blois and built after 1515, a 
regular plan with square court ef honor and rectangular garden 
behind the main building, evidence of whose splendor is given 
today only by still massive remains. Of the water chateau of 
Chantilly near Senlis, the main building from the time of Pran- 
cis I is grouped irregularly around a triangular court, but 1 
Later and ebout the middle eof the 16 th century, it was connec- 
ted by a bridge with an outer court and garden surrounded by 
service buildings, and on the other side by a second bridge w 
with the great agricultural court end other plens of sardens. 
The architecture of the portions of the building erected in t 
the time of Phancis I with all their richness already permit 
the recogintion of a plain endeavor to simplify the forms ‘in 
the sense of a severe observance of the classical laws of form. 
Rxtremely numerous and important monuments are contained in 
fouraine.( Phe river region of the Loire in regard to its dev- 
elopment in the history of art may be compared with that of T. 
Tsscany in Italy, and likewise Normandy by the lavish decorat- 
ive treatment of the architectural works with upper Italy). T 
Phe chateau of Ghateaudun near Orleans, restored from 1502 to 


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226 
1532 without ever being completed, exhibits in the facades on- 
iy a few Renaissance forms, but it has a winding stairway inc- 
luded in the mass of the building, which scarcely finds its e- 
gual in grandeur and as a structural work. The chateau ef bu- 
de (Big. 288) was begun in 145: and rebuilt under Francis TI, 
completed in 1535, by tlear simplicity in the ground plan and 


extraordinary refinement in the treatment of the details, aff- 
-erds in its entire appearance a harmonious representation of 


the self-conscious and defiant supremacy of the higher French 
nobility, appearing in graceful and dignified clothing. bike- 
wise the remaining numerous chateaus of the French early Rena- 
issance have the mixed style resulting from national and Ital- 
ian architectural principles, which unfolds its picturesque 
charm on the always preferred court facades. 

Among church buildings (page 248) the choir of S. Pierre “in 
Gaen, built 1518-1545 by sector Sohier, presents one of the m 
most interesting examples. It is still arranged on the Gothic 
cathedral system as a polygon with choir aisle and circle of 
chapels, constructed with buttresses, flying buttresses and f 
finials and the like, butsotberwise entirely clothed in Renais- 
sance forms and ornamental work. (Pig. 297). Also S. Bustache 


in Paris, begun in 1532 by Pierre bemercier, has an entirely 


Gothic design, directly translated into Renaissance forms (Fig. 
299), but on the exterior Doric and Corinthian pilasters with 
tricglyph frieze (the magnificent double colonnade of the faca- 
de is from a later time.j fully expressed Renaissance forms 
were received by the facade of the Gothic churck of 5. Michael 
at Dijon with three great round-arched portals and two towers, 
subdivided by four orders of pilasters between bold buttresses 
and crowned by octagonal domes. 

Amons the city balis are to be emphasized those of Paris, Or- 
leans and Beaugency. They indeed still retain the former int- 
ernal plan (page 154), but with a stronger accentins of the v 
vestibule and stairway. Instead of the belfry occurs a small 
clock or bell turret . The facades are enclosed and furnished 
with pilasters and their cornices and with the new ornamental 


work. Of the prominent city houses the Hotel Ecoville (about 


1530) in the picturesque old city of Caen presents a model ex- 


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27 
example with charming areaded court, around which are grouped 
@ great hall and the living apartments, and with ea facade of 
extraordinarily beautiful proportions. Interesting in style 
is the house of Prancis I at Raris, erected in 1527 in the vi- 
llage of yoret near Fontainebleau, later transported to Paris 
2/9 and. set up in the Ghamps Blysees. (Fig. 300). It is an archi- 
tectural ornamental ‘piece of unusual magnificence. Numerous 
Renaissance houses, both stone and half timber structures, are 
Still found in Orleans, Bourges, Rouen, Angers, Gaen, Viviers 
ete. 

At the transition from the early to the high Renaissance, we 
have to consider an architect, who has transmitted to us a kn- 
owledge of French chateaus by his architectural drawings, Jac- 
aues Androvet de gerceau (1510-about 1585), He chiefly became 
known by his rich activity in art literature, was a refined a 
and edecated artist, but ssarcely appeared practically; at le- 
ast no important architectural work can be attributed to him 
with certainty. In the year 1550 he designed an ideal plan 

for a chateau, that still entirely exhibits the loose connect- 
ion of the separate structures ef mediaeval castles in plan, 
but these are entirely clothed in Renaissance forms. BObG 

The high Renaissance (page 249) is charecterized by the chi- 
ef works of two great masters of French architecture, which d 
definitely influenced its development. Tne first of these wo- 
rks is the Louvre. Shortly before his death, Francis i came 
to the decision to erect an imposins new structure on the site 
of the eld mediaeval castle, that he had torn down. He entrus- 
ted this to the refined Pierre bescot (1510-1578), born in Pa- 
ris and educated by the study of the antieue architectural mon- 
uments of Rome. He planned a design with four wings having pm 
middle and end pavilions, grouped around a square court. (Fis. 
301). Of this the master, who had charse of the building from 
1546 to 1578, erected the southwest angle (fig. 30). As the 
facade system he employed on the inner and richer court side 
(the external facade toward the Seine exhibits great simplici- 
ty) two gorinthien orders, the lower one with an arcade, betw- 
een which lie the windous and doorways. ‘Above the latter he 

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203 
with windows having caps, ebove which was an attic treated as 
a half story. The roofs on this wing are low and the chimney 
caps project but little. Only the pavilions make an exception 
from this. It received above the half story further an upper 
story with the height of the principal story and with high ro- 
und-arched windows and a great root with monumental chimney c 
caps. His system of the facade was regarded as a model exemp- 
‘Le of festal palace architecture and was frequently imitated 
on numerous buildings in the succeeding period. The richly . 
sculptured ornamentation was by dean Goujon (died about 1555 
in Ftaly), France’s greatest sculptor, butwwho was likewise 
thoroughly acquainted with architecture, and was ‘in part prac- 
tically employed as an architect. bescot was a highly cultur- 
ed artist in refined design, who understood how to combine all 
elements of architecture in the noblest treatment for the high- 
est magnificence. His court facade of the nhouvre appears as 
the ripest fruit, that the Renaissance produced on French soil 
after the purifying of the capricious art of Francis I by the 
classical feeling form, 

The second great mastercof the French bigh Renaissance is 
Philibert de 1’Orme (about 1514-1570), ouite differently equi- 
pped in comparisén to Lescot, yet no less impertant and even 
better known from his many-sided activity es architect, engin- 
eer and theorist. After a longs stay in Rome already commenci- 
né before his 20 th year, where he measured and drew the anti- 
gue architectural monuments, he returned to France about 1536, 


b, and was there first employed as a fortification architect, and 


in 1548 entered the servieexof Henry II, who appointed him the 
upper superintendent of the most important royalibanldings. 
One of his early works is the chateau of Anet (after 1552), in 
great part destroyed in the revolution, and which Henry caused 
to be built for Diana of Poitiers. This work is the most orig- 
inal work of the master, an entirely uninfluenced creations. 
fhe principal building is grouped around a square court to wh- 
ich leads an imposing gateway (Fis. 303). The columnar orders 
are here employed, still entirely in the character of the Ita- 
lian Renaissance. About 1564 de 1’Orme received from queen 6 
@atherine de Medili the commission to erect before the Bates © 


rm SS oa 


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SE a 


229 
of Paris a new chateau, the Tuileries (so-called from the tile- 
works located on the site),in the vicinity of the jeavre. The 
master designed a ground plan as an enclosed rectangular desi- 
gn with an imposing main and four smaller courts. (Bis. 301). 
fhe construction began with the middle pavilion of the garden. 
fecade in massive proportions and in the greatest magnificence. 
On the facade (Fig. 292) he employed the “French Order” inven- 
ted by him * and described in his principal work. (Page 251). 
The pavilion received two high stories with Ionic columns in 
the lower and Gorinthian pilasters in the upper story, above 
this being a half story with small round windows and a dome 
with a crowning lantern as a roof. The adjoining wings were 
one story areaded buildings on piers with a roof story treat- 
ed as an attic, on which high windows were arranged on wide a. 
and low bases in rhythmic alternation, so that the facade rec- 
eived a very animated crowning line. De 1’Orme, besides beng 
an architect, also as a learned theorist develeped a very abun- 
dant activity. He was a distinguished constructor. By means 


2620f the system for roofs named after him, he spanned hails of 


entirely unusual width, indeed by a well calculated joining of 
timbers in a great arch, thus a method of construction general- 
ly employed 300 years later for great railway and exhibition 
halls. Be 1’Orme wrote several valuable works on architecture, 
among them also two books on stonecutting, that for a century 
formed the best and almost the sole treatise on the subject.* * 
In artistic respects in comparison to pescot, he inclined tow- 
ard a dryer and more Barocco conception, to broken entablatur- 
es, intersections and a freer loosening of the members, while 
bescot excelled him by nobility of forms and refined feeling 
for proportions and the forms of details. 

* Aotually the order “invented” by De Ll’ Orme is anes a more 
tasteful form of the columns end pilasters with rusticated ba- 
nas already employed by Sanmichelt. 

* * Tn France the enjoyment of tecnniealiy perfect solutions 
and perfection in execution led to a refinement tm technical 
procedures in all domaine of architectural construction (as p 
polishing the surfaces and mouldings of ashlars and cornices), 
and te a very high development of the secienee of stonecutting, 


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a A ae Le ee?) 


230 
that branch of architecturé, whitch eaneerns the fixing of the 
bend and the size and form of the different stones for heavy 
construction (particularly at intersections ef vaults, in sta- 
‘trways and the like), with regard to the laws ef statics. Thus 
stratghkt arches (horizontal Lintels composed ‘of voussotrs) and 
trumpet vauits became more common in Fronce than in other coun- 
tries, end indeed were executed im a masterly way, the latter 
as conteal or spherical vault pendentives beneath projecting 
perts of the building, for example when angles ef the struct- 
ure of the upper story project above engular corvellings frem 
the ground story. 

After the death of Be 1’Orme (150) Jean Bulleant (1515-1578), 
who resembled him in literary activity and also in many other 
respects, carried on the Tuileries further, and likewise in h 
his youth had made studies of the antique architectural monun- 
ents of Rome. He entirely retained the conception of De 1’ Or- 
me, but was compelled to cease his work after two years, since 
the oueen stopped the building of the chateau in the year 1572 
for superstitious reasons. The pavilions ef the twe wings of 
De 1?Qrme’s structure executed by him are later, end like that 
are so greatly transformed -- and not to their advantage -- t 
that one can scarcely longer recognize his participation. Buli- 
lant was the builder of the chateau of Bcouen located some mi- 
les north of Paris (about 1531-1564), that belongs te the best 
works of the Prench high Renaissance. The chateau was commen— 


(2 ced by a master otherwise unknown, Gharles Billard or Baillard. 


Tts ground plen shows a great square court, surrounded on bour 
sides by comparatively low wings, the front one of these being 
treated es an areade gallerg opening inward. At four angles 
stand boldly projecting pavilions, that in the facade. at the 
left forming the chapel. By smail and unsymmetrically added 
smell stairway towers in the angles of the paviliions, the st- 
rong accenting of the dormers and chimney caps, as well as the 
auite mediaevally divided windows of the chapel, the chateau 
received a waft from the spirit of the French Renaissance. The 
interior (Pig. 304) had a splendid equipment, as contemporari- 
es and later writers emphasize with praise, but it was in rec- 
ent times strongly restored, like the entire chateau ohterwise. 


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231 

The remaining secular architecture further produced a series 
of important chateaus by workmen or less important architects, 
who adhered in design and details to the chief tenfencies dev- 
‘eloped by the great masters and to their models. Among the c 
Chateaus ef the nobles of this time is to be mentioned the ch- 
ateau of Verneuil in Ricardy, as prominent in magnitude and 
splendor, a work of Jean Brosse, that consists of four wings 
enclosing a square court with strongly emphasized angle pavil- 
ions and a heavy portal structure, showing in the architecture 
a free treatment with the adoption of many Barocco elements. 
(fig. 305). The citizens’ dwellings generally preserve the t-. 
traditions of the early Renaissance in regard to their arrang- 
ement, but show the character of their time in the forms of t 
the details. Important works in church architecture in the 
French high Renaissence are not tobe specified. | 

fne late Renaissance (page 252) receives a heavy and dryer 


Jc4 @haracter no longer fully corresponding to the French art spi- 


rit, by the prevailing tendency for striving after severe reg- 
ularity and simplicity and the repression of the rich external 
decoration. Indeed the portions of the Louvre erected by Hen- 
ry IV, tne grand galiery by which a connection with the Tuile- 
ries wes produced, still exhibit a royal magnificence, yet wi- 
thout ever attaining the artistic height of the buildings of 
Francis I and Henry Ii. As the architects are mentioned Bapt- 
‘iste and Jacques du Gerceau, sons of the previously mentioned 
Androuet, as well as Thibault Metezeau and his son Louis. The 
stag gallery of Fontainebleau, by the combination of brickwork 
with ashlars and the entire treatment of forms, bears a taste- 
less impression. In Normandy, where the brick architecture of 
the middle ages was at home, this combination rises to a rich 
ané peculiar artistic development. (Chateau of Beaumesnil «in 
Department of Eure). The most distinctive work of the late B - 
Renaissance is palace buxemburg (4615-1520), erected in Paris - 
for Maria de Vedici by Salomon Beprosse, the principal master 
of the time, ‘a building composed of one elongated wing with 

a great gallery (for which Rubens created the famous paintings) 
and four strongly projecting angle pavilions. The external a 
architecture adheres to the Florentine cenception of Ammanati, 


: } 
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indeed particularly to that ef the court of palace Pitti (con- 
pare Figs. 293, 269). bikewise in the interior (Fig. 306) the 
Italien classicism tends to purify the crowded forms of the F 
Erench Renaissance. The same master was likewise the creator 
of the principal church ef French Protestantism, the chapel at 
Gharenton (after 1606), a Huguenot structure in the form of an 
antique basilica (volume 1, page 117), and the facade of the 

/->@othie church of S. Gervais at Paris (1616-1621), on which he 
employed the three classical orders with severely classical + 
treatment for a powerful. and indeed purely decorated building. 
(Fig. 307). Dehrosse was a Huguenot, and as such was already 
‘inclined to a severe conception of architecture in the sense 
of a purely intelligible classicism. His ground principles 
were even made more severe by the requirements of Calvin, who 
for a longs time exiled all sculpture and paintins from chureh- 
es. {ut otherwise secular and church architecture, besides 
the tendency pursued by it, adopted a second deviation there- — 
from, that indeed adopted the same basal elements, but “in con- 
trast to the simplicity there intended for show, freouently 
took to Barocco forms and often to luxuriand overloading. But 
always is it the Senuine national spifit, which prevails in t 
these works, producing that interesting cembination of french 
Glassicis& witn Italian Barocco art, from which the art of the 
succeeding period arises. 


i i io 
“ oe THAME UT aavTOMPTaogs, HOMAGST AMAA .VT 
Bhi; MFA Pee 6 «3 . -91ya@ bas etesd {s1sa93 .f 


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Set, pele Sas 


2 


288 


pe L IV. RENAISSANCE ARCHITECTURE IN GERMANIC COUNTRIES.- 


wel © 


41. General Basis and Style. 


The earliest influences of the Italian Renaissance upon the 
architecture of Zermanic lands became perceptible in the first 
decades of the 16 th century, even if only isolated. Against 
the indeed wonderful acquisitions of the Gothic style, native 
in these countries, and which included in itself so many elen- 
ents of permanent worth, completely satisfied the national ta- 
ste and composed a structural and artistic work of the first 
rank, the new forms could only advance with Sreat difficulty. . 
The art of the North indeed entered into a new phase in paint- 


ing and soon afterwards also in sculpture, already at the time 
wheniithe Renaissance appeared in Italy. But its purpose was 


one different from that of the South, as also the entire intel- 
lectual life was a different one. By humanism the northern a 
art experienced only a slight intellectual advance; the penple. 
had no understanding for its learned idealism. Still less co- 
uld be stated for it as a “revival of the antique”, Antique 
culture was not at home in the northern lands. The mighty in- 
pulses proceeding from their architectural and art monuments, 
most northern artists could not receive at their source, And. 
if this were the case, they scarcely passed beyond upper Italy. 
The architecture of the southern countries did not be@oeme kno- 
wn to them by their own observation. Thus it was far less the 
architectural works of the antigue, than those of the still u 
undeveloped art of upper Italy, that transmitted the new circ- 
le of forms to masters advancing beyond the Alps. But even 


this relatively favorable opportunity could not be utilized 4. 


except by a small portion of the path-breakins masters in the 


North. The great majority of them were referred to a differe- 
nt intermediary. And this first followed from the buildings 


erected in German lands by Italians. In numerous cases Itali- 
an masters entered the service of monarchs, particularly in 

Austria and in south Germany as far as the Slavic east, who 

were in more intimate relations with Italy by relationship or 
by church connections. According to whether these masters al- 
so superintended the execution or only furnished designs, whi- 
ch were then carried out by northern masters, the Italian art 


- 2ow atstie9 .e10t sisew s 10 teqwG)s ut beageigxe caw siaiae 
sod edd vivo tsdt ,eea92 askissl eas af yisamq o2 taed ana eit 
-asegatensh astiss} eds to eXrow eas moat weds eeteraqs2 notes 
~eddion edt 10% eonsgeisned sds to yrsetbemietat asddant A .a9 
6 fi0qauq 4df Yew aids ai teG .soner% dhworwds eaw aiesesm a4 
“193ni doge1t sdz yd bekaado dowm ased bad eoidetastosyedDd bas 
bo eseqgisia Ons exsntseio sdt Jeol ds asvisom ati notteserg 
. -aokeasiqns {saftario sdt 

“£0 edd 2ew siudossidow nisddton 10% sometaogmi tessexg 0 
vd betqobs ta1i? stew smt0T sonseetensh! oft tang .dones smug 
~lwoitisa bos ,ekaidéateg aieds to ebavorkiosd ait rot sisdatag 
evotemua af bsistteoe auted .atevsagae hoow bas asaqge0 vd vias 
boovarshauaim bae ysesd eltaenoe1t sa? .etaiag bas aaniverkas 
od3 Senistdo yléeom etodtus seodw .eacds yd betneze1q eodorane 
-ofsm tse18 at 10t e190 .basd hbrtddows baooes Ss gino aovisom 
~aa afead to esc1soe letdo edd ebas{ asmis® nt erstesm to vis 
“ito hebbe siex sasds of .art0t “sikieespisas™ oad to s5siwo 
“ast% mowt boouboxtai s19ew sadd .etis 4tonim sat Yo edoubora a4 
~‘etataq-astiss] ,asisistat .saudiniwst .altaneso .vfasl bas 99 
tsdd ,19ba0w on eaw ti ototetedT .20cd to motrsio‘eb ant bas 
“ma sd? Ot youshass « bad teail eds wort studostidors nxsdéxz08 


of sesisseubat gre odd mort déatd ast yd borogmad eaw st + {Ls' 


‘Batt diiw sonsesisaef sat to notdqeouos t9bas1a bas xsdeie 2 
“DP eiow seedt a8 .exotietnt to sasatssast adr to ausidorg Jaei3 
“to ls1utostido1s beitiasio ast of bas  ~vlatt at anvttaloe 10% 


; ot Rafdost eaw stad? .bsas0e isvem issesm masddiog |A9 mains. 
astistl tol aaiateais ai as antbasterebas at doum 2s tast wodt 


| ~tat déiw Sevisces hoobat c1ew eutvew iY to abattiaw od? .t15 
“s0i9 .tetesm datbasitedtel s S63l-asey sdt ak vosotld .des79 
~o# 005. <auivexiV to doodbasd adt Oedetidsa .selsdute syoo¥ 19 


» BASE ab beneet si9ew Ofiges onsisesde? to seods abissietis a6) ~ 


| fem Hedw suis tedt te eudé .teisoeds aa9dmetel w .eutvih .H yd 
mot to bisow wea oft To okbefwond ot at beousvds vbseqls bad 
| eeiverti¥ Yo 2iood ev£t sdt to noitsieasad asuve® taxii eng 
toe edt otat ylqeob stom efeasensq toa Orch gom t9¥ .betseqas 
aA _tiselooterse 2t9ed¢id0%s To ysirotes eff .metoisas{s to sia 
” ) boow woit gattooliod yd beiteitse erew .etessuconose st 
is ide) Ous YSekIsv Seotset2 edd estaiq rsaqqoo bas akaive 


Pas 7, ee 


——- - ee 


ae ie 


234 

spirit was expressed in a purer or @ weaker form. gertain wo- 
rks are kept so purely in the Italian sense, that only the lor 
Cation separates them from the works of the Italian Renaissan- 
ce. A further intermediary of the Renaissance for the northe- 
rh masters was through France. But in this way its purport a 
and characteristics had been much changed by the French inter- 
pretetion! its motives had lost the clearness and sharpness od 
the original impression. 

Of greater importance for northern architecture was the cir- 
cumstance, that the Renaissance forms were first adopted by 
painters for the backgrounds of their paintings, and particul- 
arly by copper and wood engravers, being scattered in numerous 
engravings and prints. The frequently hasty and misunderstood 
sketches presented by these, whose authors mostly obtained the 
motives only at second @rethird hand, were for the great majo-. 
rity of masters in @erman lands the chief sources of their kn- 
owledge of the “antique-like” forms. To these were added oth- 
er products of the minor arts, that were introduced from Fran- 
ce and Italy, utensils, furniture, intarsias, Italien prints 
and the decoration of books. Therefore it was no wonder, that 
northern architecture from the first had a tendency to the sm- 


(Pall; it was hampered by its birth from the art industries. To 


a higher and grander conception of the Renaissance with its s 
great problems of the treatment of interiors, as these were f 
for solutions in ttaly, and to its clarified architectural or- 
Sanism the northern master never soared. There was lacking to 
them just as much in understanding as in training for Italian 
art. The writings of Vitruvius were indeed received with int- 
erest. Already in the year 1539 a Netherlandish master, Piet- 
er Koek @fvAélst, published the handbook of Vitruvius, and so- 
on afterwards those of Sebastiano Serlio were issued in 1548 
by W. Rivius, a Nuremberg theorist, thus at that time when men 
had already advanced in the knowledse of the new worid of form, 
the first German translation of the five books of Vitruvius 
appeared. Yet men did not penetrate more deeply into the spi- 
rit of classicism. The majority of architects, particularly 
the stonecutters, were satisfied by collecting from wood engr- 
avings and copper plates the greatest variety and abundance of 


 etthieds das asoiai0s .sangloo ,2iésteg@e to? ems0i Lstosmsat0 
-26visom fo oiuese1s aids o1peseiq ts steloaqiesai os 13630 ai 
ot garfest bexsesa ns baniside od tom OLvos aisbom dope mo1% 
ebotnomted aisdd 190% .aisdaem {siuéostidoag od¢:-to isitlas sdt 
6 sisoa edd aot One aginsaso isiutossinors oda at soitsaidwoo 
; -@00iT10G0%1a to 
“qnoo 8s souboddgal of Latortieque s2% oof stew eseiucut sead® 
q bas. dasdaeqebai ase bas t18 to aoidaqsones sda ai szasdo stoi 
sd yuseseosn edd gaiiost stew aids 10 .tasmgoievs) Latzewoa 
~ai, edt at yitmiottans bas véienetat ee Ifow es. .pactdibaoo {sa 
+@biateo ond wO1i swoo ami0l sonseesisued odT  .e2a920t katiisa 
af mxotet 6 tot ysteasosa etanni as asdw emte & Js bsebat bas 
eeost ofasmied edd io ysianeveh oid dail teks ton Orb aivea 
6289\ Yas al .anoftsfaisv dviw betasoos. ed seum ti .oslaosa to 


903 bas .yasurs} slobim bas davee ni einsa® sada, emptatacd. sar 


-2atfeei to shom astisdi odd od as1898m yintsia dood¢s ensialed 

bas e¢3ig lsiutem aiedt vd 10 viet ddiw savtsaies tosxib va 
-fas ont .dtto% eds to esnstidsdai ent asis .b00i8 to esutkiw 
~goutde odd to baiddon ag evis of Snti{iw saiew aevisamsdt atet 
. osfe tod .ofdtod otal edt to anottteiuoos svitai00sb das. Lar 
f .ew1et dstaemenio wea edd Jootex dom bid basa asdéo sas no 

aiedt of etoomwobas doir dtiw atstasa wot & ton Sotayoo veu® 
bas, idoselfenua§; es aotgdse seitas denemoacda dove 3u8 eines 
“sds To das atts eds beoneudtar ylediutteb bad odw .sénsee7 
Revios ed oF ameddo1g) ed? mont monk basoong goa b£b emit xt 
" atoyoiqms yleoatzq: edt .ytins: to: servosisdo sds betosl ozis 


-o1stiuo to seoneuding agie10l sdt buswos ooatfoai {isw s19w 


-sivibdss L[sotstioag edt at tauco y¥leontra on beverxs s1sds Jue 
eved Sivode consi mings dads .esiadnsoo ofasmien odd to. aagoi 
_ $9id) bas. eettio: Latapquk ed?) .429, odd mt tuea aaidsed » uoied 
“es)eacds moxt bas ,heatfoni visvitsvasenco, esaw anelo gesitio 
~sisbianoo ojai swso yleoisoe dowdo sdf. semoteztmmoo taom em 
‘S108, .viiteiteos {siudootiniors at 10¢083 dastiouwi os.4s aois 


eid tedle betssqcs yLisaotsqeoxe vino agadbLind dowsds. to. boon 


| bad botieq Saidsecsiq.sdd at tis asitetsd® at asonsvbe dRia 


_ basag odd at aoiseeitqxe Lsteomuaom betsvefe nz done bawot bed 
a | te ebsia edt mott berferusv bed .eexgtoursea Lerbsdiso 


~ tedd ,20R6 sibbia ods to motsautgqaat ewotaidex six osle asad. 


235 
ornamental forms for pertais, columns, cornices and the like, 
in order to interpolate at pleasure this treasure of motives. 
From sach models could not be obtained an assured feeling for 
the relief of the architectural members, for their harmonious. 
combination in the architectural organism and for the scale o 
of proportions. 

Fhese impulses were too far superficial to introduce a comp- 
lete change in the conception of art and an independent and p 
powerful development. #or this were lacking the necessary ba- 
sal conditions, as well as intensity and uniformity in the ia- 
pelling forces. The Renaissance forms come from the outside, 
and indeed at a time when an innate necessity for a reform in 
style did not exist. With the diversity of the Germanic races 
of people, it must be accepted with variations. In any case 
the Austrians,ithe Franks in south and middle €ermany, and the 
Belgians stood plainly nearer to the Italian mode of feeling, 
by direct relations with Italy or by their natural gifts and 
mikture of blood, than the inhabitants of the North. The art- 
ists themselves were willing to give uv nothing of the struct- 
ral and decorstive acquisitions of the late Gothic, but also 
on the other hand did not reject the new ornamental forms. T- 
Phey counted not a few masters with rich endowments ‘in their 
’rpanks. But such phenomenal artist natures as Brunellesehi and 


 Bramante, who had definitely influenced the entire art of the- 


ir time, did not proceed from them. The problems to be solved 
also lacked the character of unity. The princely employers w 
were well inclined towerd the foreign influences of culture. 
But there existed no princely court in the political subdivis- 
ions of the aermanic countries, that as in France should have 
taken a leading part in the art. The imperial cities and the 
Citizen class were conservatively inclined, and from these ca- 
me most ocmmissions. The church scarcely came into considera- 
tien as an important factor in architecturel activity. For a 
need of ehurch buildings only exceptionally appeared alter the 
high advances in Christian art in the preceding period. And 
then alse the religious inspiration of the middle ages, that — 
had found such an elevated monumental expression in the grand 


Gathedral structures, had vanished from the minds of the people. 


LS a eS 


- ctidie od besaveb 4sw aasststio edt to gailsst ottatoomsh & 
yaks - ',.908L@ atf at beiseqqs bas ed3eq 
‘hinges to soitaem edt 9d ton blyoo geoasseuvorts dova abst 
~efes1 edotoaneo 3 One etovesbas betting te .mottascaco tie bs! 
itefistosisdo 6 to tovst ai o10t to bitow wea 9dt to norrest 
sdt of edinil ett Osd [erxetsm oft asvE jofyse af tasmaoleveb 
sonszetsash asifssI] ed? .axtoatidows atedéx0m oF 19 teasit 
~smte® odd ai tc9 .euvsoetidors enosa suo s yilsitastedue ean 
“‘bsbaoges1t09 soitoyitenco seduis tisd bas neboow eezidtauoo ota 
do91t5 s simiea tom Oth dotdw .eviten s1ew bas stamife odr of 
~esieio ods 109 .amtol 14 dneatsors natissI edt to tasmvolame 
“aco to weteye hbotovst teom edt bomi0t abyawisdie ti esesod ata 
“£20 ,poitouttenos Aotad to eaaiemob tuations sat al saoisourte 
%03 smote tuo botaobs beshat etd? .seg at beunisace d1owds 
“m8 @cf selwisdio sud ,esotmx09 Hae esivaotone wobniw .aletioag 
 emide2a0l B 101 enottibars of Letdtist bsatemss saiudeea oxty 
add -asw ylaistis9 saote tuo axatdlisd tasdioqei s10n 9dt 108 
avo enode sonsaetsasA atedtiog edd 32 nO .fstxsdse etirovat 
~tselo Jeon ssineiif ti ao ydtw0ow oftaites ett dns toet Te ieea 
: -tesostedo efi Io yiiasitvosa eds exseqaqs yi 
-ove etktne ei Aninub souseaisaeA aisdtioa sdz to sivtea si® 
ediniteh s to taomqoleveb eds yd bestvetosiado ton et aoiaul 
atqgobs gi dotdw at aenasm bas sbom vd sud “sdeye Istutoss tiowe 
~em eds yitelyottisg fas eisdees ([stetourte wen oda evolums bas 
giwo de1t? Sdaveds etstaam atedd10a od? .motsasasmaate to aus 


eietat aiedt 10 enrol istasusa10 tuo wow sat to Isueasd 8 to 
«tivica ofdtot ond ai vieiitne bedser9 [Lise nettieoques {sq - 


tsdw qino sonsacisael asiist! edt moutbetasoog sarit gs wat 
-sem I[egnomsaro edif-supites edt . mond ot aatitase sdaom Semsee 
- e8atoluom Yel .alitaeb .2sfoanos <819tesliq: .ennufloo to aisd 


sto edt Sas off odd bas ebsed i1seq .aantblvon disb-bas-o39 © 


ditte aieds of antbieoecs .eacitavonnt seeds Raftvofame .sa9ems 
v8" ge00l ytev s af ,@eineato tfedt to anibassaisdas syitostab 
ne 6as e&aiblind «atedt to es tusounte {avestbem viexitas edz ao 
 etetaslig yd anoteivibdse ed? .(808 jat8) .eaarbliud to ada 
paeees 9tiug To asbhsost edt of betlags etew asotaros riedd bas 
eLisme doca ditw botourtenon viisluottisg bas .enoidiogo1g sa9 
"eenaeg heqaste inten Od hE base reves ” avagted te 


— yo nay 


236 
A democratic feeling of the citizens was devoted to secular nu 
needs and appeared in its place. 

Under such circumstances could not be the mention of a unif- 
led art conception, of unified endeavors and a conscious real- 
ization ef the new worlée of form in favor of a characteristic 
development ‘in style. Even the material had its limits to the 
transfer to northern architecture. The Italian Renaissance 
was substantially a cut stone architecture. But in the Germa- 
nic countries wooden and half timber construction corresponded 
to the climate and were native, which did not permit a direct 
employment of the Italian treatment 6f forms. For the citize- 
n’s house it afterwards formed the most favored system of ¢con- 
struction. In the ancient domains ef brick construction, bri- 
ekwork continued in use. Phis indeed adopted cut stone for 
portals, window enclosures and cornices, but otherwise its en- 
tire nature remained faithful to traditions for a long time. 
for the more important buildings cut stone certainly was the 
favorite material. On it the northern Renaissance shows ots 
pest effect and its artistic worth; on it likewise most clear- 
ly appears the peculiarity of its character. ake 

The style of the northern Renaissance during its entire evo- 
lution is not characterized by the development of a definite 
architectural system, but by mode and manner in which it adopts 
and employs the new structural members and particularly the me- 
ans of ornamentation. Tae northern masters thought first only 
of a renewal of the worn out ornamental forms for their “inter- 
nel compositions, still created entirely in the Zothic spirit. 
They at first acceptedfrom the Italian Renaissance only what 
seemed most striking to them, the antique-like ornamental men- 
bers of columns, pilasters, consoles, dentils, leaf mouldings, 


iyo egg~-and-dart mouldings, pearl beads and the like, and the orn- 


ament, employing these innovations, according to their still 
defective understanding of their organism, in a very loose way 
on the entirely medieeval structure of their buildings and pa- 
rts ef buildings. (Fis. 308). The subdivisions by pilasters 
and their cornices were applied to the facades of auite differ- 
ent proportions, and particularly constructed with much small- 
er heights of stories, and especially to their. stepped Sables, 


: a bas hetpet ite etiteopeet eem teseslic edt ydexrsdiK 
y --biboyLao: Jol .enotseraste: avotonsa’ beonsiteqxs oals eisdmew 
- # eawod) eae lorebsost wotten sds eveds sey ai nisus1 sides odd 
eveds eoldss obte relies beisgugs shite aeha0l ods ao oats dod 
~athestaemtse1s ni dott yisv yituscpexd ,teo1 ad3 to sabe ode 
-ofteiae stew sidsh edt aatawor yltemrot elsiatt sit to bsegs 
Yo Bdsoebentiont eof .(exkuiicdo) anoisosiora isbimerya so Ls 
@9VINS e820: Ordtod sted sds to noidsstint at deabar) ‘eides eda 
~se ddiw: yeouil Sessaias ai bevaso ss)ew (eside% yrsosxs oft x0 
“fo bist o1sw isow [stnenen10 10 abaad dsvave vilutions? 249 
~dd ewobniw ysd eterasides sdt asbiesh .eefdas Snisoshoig sade 
~ 8) %0 Sifaso sit ts saved edt Of SOustdnS Sad IsVO Sets te 
ai aetto oale .bavors sds mort gatbastxe yisasupeat eefaas edd 
-su edt to-eo8t sit moxt yltoo1td anttoetoxg asivose resay odd 
“598 9f3 O83 65658 vyiasiygeTrt 918 tedd .eaewot vawatade as all 
“80 bas sqeve To atdatli elisa ytto tot bus .agtasb Leastosstia 
“1seqge)Lsintoot inexrs efit to etasa Isctostye sax atot asinooi 
~seretisivettisq bas ewiot wen odd at bedtolo sxsw yeu? .s008 
heistolvoes bas svits10096 betasins as ewodain vad ent of ov 
—Soulse Sts eiswod od sonseaisneh baagoleveb eis ul  .sénemend0 
bas eetob yd betsvoo .etstasiigq yd bebtvibdua .asiacde ai Born 
tot) .efettog: ens Yo beyotme eam taewteous nota A .entesasd 
"vat slur odd bemrol dows. bawot odd) fstxog sax to Ratasag aia 
 stodstvors: cod ean snondsei1t on?) .coaseeinae® boaoleveb ant 
siymie! yuev beatsusa yitsor awobatw ed? .fesnsesato nana feos 
-sivod 8 atin Ssisoimast yodT .efsdseq sax attw aoetasqmoo ai 
984008’ to ee10t Ievestbom atiw dasq at oels. tus .{staii Lstao 
+ ekhatbicow ofdtoS ods bentessy enol yous) sexneofoas ateat of 
_ S80 tvods Of awob .edmat) eds ai evolLod aseb edd ylaisivotesea 
satis: edt at) yis0sa9 ofdtod stai ede bas \edared atent bres 
tb aids et avobatw dowdo at saiveiid .ewobstw veo eds to ‘eh 
 asath ode to cotssmrotenent & isin Ti neve \beutares yisosupe 
 “evakt)) .souseeisaed oda to sacisasones. 90d ofst elisteb bre 
“stent eviTeTODeh bas IsywTOSTidoss oid Lst6nee al .(@8E BGG 
80 Leautoursre bertetsiq yifatosass aketaeo oF besinil esw tage 
“8 s0nstrogmt susbneqebat teonls as. dbevtooe: ydoredt dotaw <ad% 
PRL Aewy eho COR QMEOEREd ets torwetuserd. isnouve sav. seve! 
8 APRON AT WOR OLIBINETODIONS Bo Heut ei Sidon ast * 
sAOKUAS AHOATHON BAT Nol siduod Bad Bo 


was Fy de, Pe, ar 


Se ee 


OE ae Oe ee pS ae 


237 

whereby the pilaster was frequéntly shortened and the other 'm 
members also experienced numerous alterations. Not only did | 
the gable remain in use above the natrow facade of the house, * 
but also on the longer side apppared smaller side gables above 
the edege of the roof, frequently very rich in treatment. In- 
stead of the finials formerly crowning the sable were spheric- 
al or pyramidal projections (obelisks). The inclined caps of 
the gable (indeed in imitation of the late Gothic ogee curves 
on the tracery gables) were curved in animated lines; with si- 
eps, fascifully curved bands ‘or ornamental work were leid on 
the projecting angles. Besides the gablessare bay windows, th- 
at Frise over the entrance to the house, at the centre or at. 
the angles frequently extending from the ground, also often in 
the upper stories projecting directly from the face-.of the wa- 
lis as stairway towers, that are irregularly added to the are- 
hitectural design, end for city halls flights of steps and ba- 
-leonies form the principal parts of the architectural appear- 
ance. They were clothed in the new forms and particularly sga- 
ve to the bay windows an animated decorative and ssculptured 
ornament. In the developed Renaissance the towers ate struct- 
ures in stories, subdivided by pilasters, covered by domes and 


(>/ lanterns. A rich treatment was enjoyed by the portals. For 


the opening of the portal the round arch formed the rule in 
the developed Renaissance. The treatment was bess architect- 
ural than ornamental. The windows mostly remained very simple 
in comparison with the portals. ‘Phey terminated with a horiz- 
ontal lintel, but also in part with mediaeval forms of arches. 
@n their enclosures they longs retained the Gothic mouldings, 
particularly the deep hollows in the jambs, down to sbout one - 
third their height, and the late Gothic tracery in the railbin- 
gs of the Day windews. bikewise in church windows is this fr- 
equentily retained, even if with a transformation of the lines 
and details into the conceptions of the Renaissance. (Pigs. 
335, 359). En senéral the architectural and decorative ornam- 
ent was limited to certain especially preferred structural ‘pa- 
“rts, which thereby received an almost independent : mange Cause 
aver the general organism of the building. 

* Fhe gable isa just es characteristic for the northern: hedads 
as the towers for the northern church. 


_ sitingosen odd aimasq eliateb isustoetidoxe siz ‘to autet sit 
stones, omsoed eauedon to sau od .dagmisend es1k viev s to a0 
\sonseaisoe? beonsvis odd at ylno e1edess aisddion ong déiw ts , 
-betqobe ton sien yodT .yvasdaeo at SF efit to elbbim odd duods - 
~9829998 evite10096 ‘to eta0e [is tod .emt0ct Isotaealo aieds at 
~ ebasvis amyfoo edt to isteebeg sdf meds oF asviQ sien asit 
“90 asw disde off .{OS6- .2f9) .a0iset0096 Iatnemenxe beviens4 
s9voi edd ai dnow Istaemsni0 bisltevo dtiw beiataast yidaasie 
yd.Seds1000b mobise ton bas betult anied webatames ans .b1tdst 

whe yaavetieq egacs0l ao Istige asve 10 (O88 .3f%): genoesdsis 

~dasw et aieetas edt ofox s sh .du8 sonsestsash ar as virsii 
~3s bas beilewe vitasepeat edt yssxdaoo add ao 3{I8S 1.32%) aad 
~d3 (886 DLE .eari) amuloo sidsisbaso 10 asdeuied beoubsy ats 
totfetl seqqa to esaseatsaed ylise sat at hersg99:0 vbseils ts 

-enodain yad edt no vileiosgee .19evst seta bayoiae .(SIS are) 
-diqeo. asidsdat109. ads mort hevixeh s19ew ei{estase edd alot s 3A 
7 arkeoastiisaxs yitaososutwey .eonseaisneA astist! edt to La 

shofieittse stew wea isxem9k al .cotssmiotanssd biswivs yluad 
% dofdw moat .eeveoi audéaeces to estise sbya yidsaislos a dviw 
~ti betseas eaten e1stecliq edd setwetid .2eetulov wth sds werk 

_ 90 nemted citi Siawaxob bedeiatmib anisd usdte yaasudeo eds oi 

Basot oals sattal onT .somted aAit bemiot visiisno s19m, yoad 
“e180 s eved yligom eeoiaioo ed? .edtoaaque seit 25 taemyolame 
~sInentsao1s anotoiaqsos yiertdas as yisaouoeti baa yvsed ,2aef 
etiaiteG . .s0fn1t09 oid ott beiiterq oetto asw svacdiaors oP 
“om Pnoteitio sdt to motsoefota bas adgied sdt 101 anoiducgord 

_~bs18 tutetso s dtiw ateom ono ti .0d beredds ton e1ew suatbdn | 

| @i ef eyewle yireon .m10t to amonso bextt os antbr90e2s nortan 

7 doertth eda 10 atetaam asiiedI to sottsateitraa dt bousess sa 

“adéton eid .sfodw es as berebianco .2lebom asides to conewdiat 
-~ baktied asi nismet soaseatsasS sit to adson issetoesinors a19 
a9 ab bas ytian -Jasagolevs® oiaasio oF Bisk)ex ai ostiesl odd 

f 18, aetistl od¢ wend ofw .gaibaste t9dgid to asuidtA © .o1us0f0 

 ~edee-eeel petivccs ,aoktavieado fesoateg yd ction Latutesiido 

 -m1e8 aiedéuos ai sasek ta bas iasoedidors eviden sis aod ms 
aisq sbsost yd th 10% etusidedua 5 saezexq oF tdauce yadd yas 
~dows asda 8 wd ceostive {ise aisia 948 Herevoo yedt medw .ants 

“Fide hetateg yd YO .s0208fk yd badsntua savsosst 


238 

Phe forms of the architectural details permit the recogniti- 
on of a very free treatment. The use of columns became gener- 
al with the northern masters only in the advanced Renaissance, 
about the middle of the 16 th century. They were not adopted 
‘in their classical forms, but all sorts of decorative accesso- 
ries were given to them. ‘The pedestal of the column already 
received ornamental decoration. (Fig. 320). The shaft was pr~ 
eferably furnished with overlaid ornamental work in the lower 
third, the remainder being fluted and not seldom decorated by 
arabesques (Fig. 319) or even spiral or lozenge patteras, sin- 
ilarly es in Renaissance art. As a rule the entasis is want- 
ing (Fig. 321); on the contrary the frequently swelled and ag- 
ain reduced baluster or candelabra column (Figs. 311, 332),th- 


/.at already occurred in the early Renaissance of upper ‘Italy, 


(fig. 212), enjoyed great faver, especially on the bay windows 
As a rule the capitals were derived from the Corinthian capit- 
al of the Italian Renaissance, yet frequently experienced a t 
truly awkward transformation. In generai men were satisfied 
with a tolerably rude series of acanthus leaves, from which g 
grew the dry volutes. bhikewise the pilasters were treated li- 
ke the columns, often pdeing diminished downward like hermes or 
they were entirely formed like hermes. The latter also found 
employment as free supports. The cornices mostly have a care- 
less, heavy and frequently an entirely capricious treatment. 
Fhe architrave was often profiled like the cornice. Definite 
propertions for the height and projection of the different mo- 
uidings were not adhered to. If one meets with a careful grad- 
uation according to fixed canons of form, nearly always is to 
be assumed the participation of Italian masters or the direct 
‘influence ef Ftalien models. considered as a whole, the north- 
ern architectural works of the Renaissance remain far behind 
the italian in regard to organic development, unity and in en- 
closure. ‘Artists of higher standing, who knew the Italian ar- 
chitectural works by personal observation, acquired less este- 
en for the native architecture, and at least in southern Germn- 
any, they sought to present a substitute for it by facade pain- 
ting, when they covered the plain wall surfaces by a sham arch- 
itecture animated by figures, or by painted ornamental work. 


ww fednemenro to sae ond oxtwodtd motssi00e6 enieint edt al 
“-199' a0 betsadneoneD asdt .oiodw eds tevo bebustxs eesi ai Aaow 
book s 10% e180) texit of rovesbae edf .esasq [satontxg ais 
edd toi elisd tao1s sd? .dedsiniwib ydeaeds ei toolkits Lsaretas 
To dH: stote1xeds exe das wol bus anol yrov yiteou sun gonalac 
-teges? yiov s doss1 yedd ofo1 6 28 dud ({S86 .8¢4) aeterogoug 
ond) yd .ewobetw deaqwota dawordt Qntddeif boos gh vuowiad Ly 
gatmisdio oft: bas tnomtse1s scloo eds yd .bsvolame alstueten 
.2s0algertt .87006 sat to ywixalwottiac .aflisteb ead to tailoosa 
evitero0eb .eoraiced edd al .oxkti edt baa ewobutw vad .esvote 
‘Lsaytoesidow aveds1onsid.seritevbai dia sxidas sig bas etis 


~titde to exstesa od of aesvisamedt wode eradi0ow isiateubat bas | 


% odd ai softssxiassso sotise ttads of skasas .nottourteaaoo Ln 
tested) odd? ogis bas asoaisg sas dtod ai eilew sdt 108 .ebitwe 
9d3 at isttetsm hHesrsete1g edd af boow .aaesidio edt to assnod 
~oeTt stew eilew eds emootsdns oft al .chailoasa skin to wxot 
svierosgmt ylomeitss bevieoet e1006 eds dud .artde ttef visass 
to dats [acnten ett at steL eaw fboo® .(6f& .atB) .2orwaofone 
odd) fas eyswioob sds to eorweolone ad? dentate visdsite aud 


yvierttas as sved (SiS .2f8) tauemseers r9stiota ead at 2agfenea 


ermesasliq .easd ofjat ootetvibdue dtiw notéevale isasdost¢idors 

4 efit novi  .dnowibog s sist aso dae asotniop agin eumstos 1.0 
bas goasd ed?) .(6fS .2f9) .betstint webiee ton at soitsotduss 
-tdow sbscet ak asdd bovesaqxe yisaows stom aedd ots Barmest 
~otv seoeisq ons ak ig0co ylcowmos anoiteu0cosé oposste .sastoes 
-ostfiors ofvio at tered stud .vistasor as SE ont To bro ods basw 
yfevisaios s at ylseom Seabat bos .yuesaeo ag Th ade at sung 
su000 asdd ,isdaoxizod sis eaniiies ed% Tl .tasadssad aliamce 
oa?  .gsas efbhbim odd nk es cussed bebluom to bsastmsdo madt ao 
“8909 S10" gnomsso1t Tedoia a ddil .hbexesesia ans asosqasedat 
enoisivid sdiw yisst mori betestint akatifes ssboow sat botoure 
 axede ~eeenoto .anogyfog .2a1sup2e te amet edd ai efousa orni 

- =9smm00| 818 tsdd -O8ff ods bus eient0o Hodagson. Atiw: eslanesos1 
ems enetti dns efenaqeed?® .(22¢ . 99) Lemsed yd redtomot bos 
ed? Venotsasc00b Iséeemsate borsmins dtiw bassets visassoott 

z 88Y e801 bus Jon Seddia as Ilite beasia fexfi 3s evew siivey 
so9sidors asfyose .edim thodtiw az iney ae0%9 as. meted tua, aot 
vo) stioo% aisatbioaue isi at wodt to enw obam Isxsasa sb ems 


A } 


P oh oe 


239 


J 3 Ts the internal decoration bikewise the use of ornamental w 


work is less extended over the whole, than concentrated on cer- 
tain principal parts. The endeavor to first care for a goed 
‘internal effect is thereby diminished. The great halls of the 
palaces are mostly very long and low and are therefore out of 
proportion (Pig. 352); but as a rule they reach a very tastef- 
ul harmony by sood lighting through Srouped windows, by the 
materials employed, by the color treatment and the charming 
handling ef the details, particularly of the doors, fireplaces, 
stoves, bay windows and the like. Ip the technics, decorative 
arts and the entire art industries,Shenorthern architectural 


(jf and industrial workers show themselves to be masters of skilf- 


ul construction, thanks to their strict organization in the ¢ 
guilds. For the walls in both the palaces and also the better 
houses of the citizens, wood ‘is the preferred material in the | 
form of bigh panelings. In the anterooms the walis were freo- 
uently left white, ‘but the doors received extremely impressive 
enclosures. (fig. 313). Wood was left in its natural tint or 
but slightly stained. The enclosures of the doorways and the 
paneling in the richer treatment (Big. 312) have an entirely 


architectural elevation with subdivision into base, pilasters. 


er columns with ‘cornices and cap like a pediment. Even the r 
rustication is not selde@ imitated. (Pig. 313). The bands and 
framing are then more strongly expressed than ‘in facade archi- 
tecture. Stucco decorations commonly occur in the palaces to- 
ward the end of the 16 th century, but first in civic architec- 
ture in the 17 th century, and indeed mostly in a relatively 
simple treatment. If the ceilings are horizontal, then occur 
on them chamfered or moulded beams as in the middle ages. The 
interspaces are plastered. With a richer treatment were cons- 
tructed the wooden ceilings imitated from Italy with divisions 
into panels ‘in the forms ef squares, polygons, chosses, stars, 
rectangles with rounded corners and the like, that are connec- 
ted together by beams. (fig. 314). The panels and frieze are 
frequently treated with animated ornamental decorations. The 
vaults were at first shaped still. as ribbed net and cross vau- 
lis, but later as cross vaults without ribs. Secular architec- 
ture in general made use of them only in subordinate reoms (ov- 


¢ bas (,o79 eagsezaq yesludiseay 3239081909 19v0 
heastisad edt 2aitamixoigas ylesoto o10m abnibliod saP 
“Bevieoe1 sash? .2en0b Oee etivey Leanss yolqms oats 
‘Speke iddenttacs vd aifew oat of basker dtiw eactaivibdsa Is 


90 ~—weatl wrors sdt ot woittibs at to (@9d0%18 eaz0ts al atetaal-.\, 
Nea yha tates 3 stagntse1s fatcsmsato ylerténs sewat asaya 


-gne dasbasde HDhavolt cooste eedoisds sdt to atoeiuetar edt al 
 *Bhaeb lite ore" ¢eds .akatblivd dodo suse oft ad .Saomvol 
~nie ylovisataqaes oenisast taeassers odd .slyta oiddo2 ai baa 
-od0o'yllentetxe as aovia yilsnotescos een eilaw eds oP aig 
“-9908 Yisieqaetanes odt ao bsqoleved 28 dove »,norkde1goab bevis 
‘@ ~@nneioo tied bas erefesliq-eonsesisnsA «.exutostidoie asi 
~ebas ewobatu edd to Sdated edt ts antoaemuoo yltasuoertat Joa 
edt to sary odd mor} sotatos aism s 1894 ,aafoanos ao auidsed 
werd Besisine orem adie oft .(3fS .art) .asfusy esore 1 tog 
sonseatenes t9dto bas eouig .2antbives teel ba3 t186~bas-ags 
) efit o¢ ylozodo ox0m stedbs dordw <Redowdo eid at .easvitow 
~~ enfh .botveoxs yistsfLanos afometeye tetealta odz .natfarl 
~I)moat aealeqmt: as2n0172 eevisoss aedt aoias10995 etiadas and 
afvestivaréitesat dsisdo Yo. Sasusato teido- ed® tis astisa 
_ ste stodo .setasfiss aagio .etiaieq ,anes toe boot. .atesls edd 
 Wtetveds ai Peadolo [fe sis yoiT. .adastcas bas iedmot ,alis 
eldstebieaco s of s2it vitdevoort .sonsazteas® eft to asteun 
edt a0 .vtused supine to ats vlews7 ton bas dgted octt¢etizs 
‘Peqveds axs0qqs oxfs asdotsd2 yaem at hevreeeta asiirsa ited 
ee88 a1) .actadest ao1f t63901" misdit0om edt Yo sives asiivo 


7 “/adetemun att .alettge at belior ebor bamor ve) bastussosisdys 


_ ~“tuidys boa stiaiteS fa arsd ond to too Qnttsed ant yd .eseasa 
: - Yo mob eds at exoitetoced ssit otut esoafg boagneite yilast 
/ lo\egaioas oft nt bee) ,an101 isntas LuttpystSas ssupseto1a 
Bide tas et (OSS: -9f9) .etewoll best fawoitaevgqoe bas aevesi ova 
x edt ylisigoisica ,astiesl sac wort Heviveb ak treasni0) od? 

 ' £0 yldoo1f® eonersme bagel isddie tsd¢ ,eongenisash arsdual] 
 stasbaeqsbat-as aataed goes: sud sone th baw vbaustsd dasouds 
| $ ak as Lior as oiyta: bas bait af helasyi dayons .suemaofLewsb 
istegeq mio? (stasugaio gasiiies siT \.seitgaveo snorstlio sae 
wd isei oa? .(8@L 9989): .supesders: ons Ak? ylstl. ao1t gates 


at 8c tot todd Seta poeta adt of bans 8 
io) or oes Rae ae if aN 


sae elass deiweli oat ylueluoisisa bes aubhas, 4 


\ 


‘@ 
a ed ‘ 


240 
over entrances, véstibules, passages etc.) and they are then 
fhe buildings more closely approximating the ftalian tendency . 
also employ tunnel vaults and domes. These received ornament- 
al subdivisions with regard to the walls by continuing the pi- 


\lasters in cross arches, or in addition to the groin lines, or 
even invan entirely ornamental treatment. 


In the interiors of the churches stucco found abundant emp- 
loyment. Qn the same church buildings, that were still desis- 
ned in Gothic style, the treatment remained comparatively sin- 
ple. To the walls was occasionelly given an externally cone- 
eived decoration, such as developed on the contemporary secu- 


lar architecture. Renaissance pilasters and half columns, n 


not infrequently commencing at the height of the windows and 
resting on consoles, bear a main cornice from the rise of the 
net or cross vaults. (Fig. 315). Phe ribs were enlarged by 
egs-and-dart and leaf mouldings, pipes and other Renaissance 
motives. In the churches, which adhere more closely to the 
Italian, the pilester system is completely executed. Also t 
the entire decoration then receives stronger impulses from I- 
talien art. The chief ornament of church interiors lies in 
the altars, rood screens, pulpits,; organ gelleries, choir st- 
alls, tombs and epitaphs. They are all clothed in the form 
system of the Renaissance, freauently rise to a considerable 
artistic height, and not rarely ere of uniaue beauty. On the 
cheir grilles preserved in many churches also appears the pe- 
culiar style of the northern wrought iron technics. It is 
characterized by round rods rolled in spirals, its numerous 
passes, by the beating out of the bars at definite and rythn- 


ically arranged places inte flat decorations in the form of 


srotesques and fanciful animal forms, and in the endings of 


such leaves and conventionalized flowers. (Hig. 316). 


The ornament is derived from the Italian, particularly the 
Lombard Renaissance, that either found entrance directly or 
through Bursundy and France, but soon begins an independent. 
development, though varied in kind and style as well. as in t-. 
the different countries. The earliest ornamental form penet- 
rating from ltaly is the arabesque. (Page 192). The Netherl- 
andish and particularly the Flemish early Renaissance adhered 
so closely to the italian conception, that for certain works 


ro. Sibinawean oie code ‘dsns .eveifed tdatm eno 


pe | n6lbdininds dtiw dnenjeets yb tetwomoe s Lesenes et exsda aebi 


~ishom: sta bavoss aysig deat .irew [Lewy bas eteifot besee1a 
nivSnigsoeioxra emiol feed eds bas elbbim eas és benevis. noid 

* © “eatd® 19ewob efit ne espooo: Jnomeate omae AT .ieifon onease 
bos bentiss ovom sedwemoe e déiw ovedd dud &itedaseeW ni: bos 
~dénsos.edd ynemie® ovedswos 31 .emxot ‘to anemsserg Luieos1s 


.eideots, teslavetedd fos vvsed odnt bemrotenssd yitaeg eow em) | 


“wOUR THs SHO ot hesinz£ yiseow bus sasde vib to eiforse ens 
~sdeguA bos eles®) esiqooxs10D bas. enidaloh .e2eesv to so bed 
~om <steosi: bas Ifeme at dbelebow yiinterao gi esr visaée@ . (21 
~oflov [lew aivesienuiares asiio teel eud¢nsos eds nedw .eovia 
~saie® di1en novpesdsts lo tnsmteesd eds al» .(aredmor) 20a 
.pifedasteot bas ebnsiredtoll odd no snebneged yileisseq ef es 
~Of Sdt nf -enddasos ent eebizeS .vesmae® dssoe no yitasa bas 
bemsete bn0f « beyoiaqus yinomaes esing ab eonsenianef axedd4 
eas to eniltwo sel edt wort hewoined tee! bedol sards bee 
“~togmi oft to eedosexe bean doum sha al . (TLE »2f8) .enddnsos 
~akds \(466l;duods-S0E!) ceverbebid revertas neifedodesWo does 
edt esietsiai oft sl .dénemseto eds io einad sod emrot ised 

ot euddé bas miol selt.eanq s& odd yieriaos eeinedo dJasaesar9 
tnespsat bowet ybserls dotdw: (PIS easq ft) sanfow) corex0¥ 

Od beiife yiuseli .{(8L6 .2t9) .comeeetench aatissl eds ot sep 
~bim edd duods boagoleveb .jnsusare bielrevo edt ei ooReieyv sds 
“éd300 sdt lo citeiredceredo seom bas yawengo as BL edd Yo ob 
bensbiw egniosliesai ie]entd to atetenoo t1-* .sonseeianes ass 


“#2S03 betosanoo neds .gaistootorg yisdeile YISv bas ebhass oF © 


9008), BAt1 Sit bus. eweree: abso: Lisa edt yd bas enste yd 49 

isiem beterctiea oniffsoes ren8sM 8 af beneteat st oF Snide 
1@0 belfom exe bas dospore ebne sit YE. OLE .9tt) .cereto 
8 edi eboti-eia® -.(086 oRih) -t0w belfoarent esouboxa eins 
: -185 belisoroe sad ebleite istusesnx0 Ri noleveraxe Ssebnorste 

sddo dose tevoe bisi ox eevalq 910% 10 ond ofedn * * .2odouod 
k J»eesq of tesq05 bas etnensnt0 bisdsevo etff Sco gyo e138 .I9 
-eteides defeasq citi emsetvotasomestes®) syedto dose ddvorda 
—etnond ,eleem .eoupRedoy® .e3ese .Zovedqe’ .zexnydae ebinerve 
, “e019 107 eviee sied? ,stfl edd 50a etinwat to ebasiaed. bbsea 
bisitsvo y% ».mektedcceb bislrevo no osle es einem 


} 


» 


Laie RO ey yen 


{~ 


244 
one might pelieve, that they were executed by itabians. Bes- 


ides there is genezal a somewhat dry treatment with broadly 


pressed foliage and scroll work, that plays around the medal- 


lion arranged at tne middle and the head forms projecting in 


strons relief. The same ornament occurs on the dower Rhine 
and ‘in Westphalia, but there with a somewhat more refined and 
graceful treatment of forms. .It southern Germany the .acanth- 


us was partly transfermed into heavy and ¢Leshyubeaf sheaths, 


the scrells of dry shape and mostly limited to one turn grow- 
ing out of vases, dolphins .and cornugopias (Basle and Augsbu- 


vs), partly was it carefully modeled in small and graceful mo- 


tives, when the acanthus leaf often terminates in small volu- 
tes. (Nuremberg). In the treatment of arabesques north Germa- 
ny is partially dependent on the Netherlands and Westphalia, 
and partly on south Germany. Besides the acanthus in the no- 


rthern Renaissance is quite commonly employed a lons stemmed 


and three lobed leaf, borrowed from the leaf outline of the. . 
acanthus. (Fis. 317). In the much used sketches of the impor-" 
tant Westphalian engraver Aldegrever (1502-about 1555) this 
leaf forms the basis of the ornament. In the intarsias the 


ernament changes entirely into a pure flat form and thus to 


Moresco (wolume 1, page 214), which already found frequent 


use in the Italian Renaissance. (fig. 318). Nearly allied to 


the Meresco is the overlaid ornament, developed about the mid- 
dle of the 16 th century and most characteristic of the north- 
ern Renaissance. * It consists of linear interlacings widened 


to bands and very slightly projecting, then connected togeth- 
er by stems and by the nail heads, screws and the like, appe- 


aring to be fastened in a manner recalling perforated metal 
plates. (Fis. 319). If the ends project and are rolled ap, 
this produces the rolled work. (Fis. 320). @his finds its s. 
strongest expression in ornamental shields, the so-called ¢ar- 
touches, * * where two or more plates are laid over each oth- 
er, are cut out like everlaid ornaments and appear to pass t 
through each other. Stereometrie forms like paneled ashlars, 
pyramids, sphynxes, spheres, stars, érotesques, masks, bion’s 
heads, garlands of fruits and the like, there serve for orna- 
ments, as also on everlaid decoration. By overlaid and rolled 


. PRN hacalik ide cAbitasericas Ss teaINe keh: tases Snemente 


= ea 


atietae vonim eft hetsnimob seeat ' betasiqane yleatine teon« 


fedaemeato edt es teonnsm omee ont ni: esstoives fetem bane boow 


eat Te Pninniged: eds [ison beebui: ,emsostidoxs oid. Yo emo t. 


* © Belyte oddeiad vif edt ogni eeeeeq Sic aedT .yundneo ds Vt 


bas siyte oon0788 ss4 to 198190890 & eavot dasa esti ao teds 
ead To) ses esism oels: teétateq si? .tadt of ebacl vitoorrb 
noiverocéb edt 10%: .yded1 mort beviseb (ECL eee) eompesdord 
“lo nedisetnemsnxo ent r0t vlossa: som <@disev: bes ebattico to 
femasd edt baoved: bhaetxe son bib beipeevotR ead goY .elleaw 
Sfbrenvesissedte bas. .(ynsmieP nsectuoe bas atutesk) estate 
dt nada bsd: odw .erstesm to bael edd aehaw betwooxs easy 
(886 282) .yLest at aniniadsd sie 

“on sd of sh tnernnwo binixeue Le satasin fanigiso eis ek * 
““b totinemants bao sts uo-weo} AHS aqduns yRedmersk shd hebang 
betanigene neiesh saxst sds wmode AS $4 {ASHIGIE setsd (Homet{o 
‘ .BhUT aosy ait: Pt bsib ef” . OGL tuede 

| -fios: dinedetesg 5 sh edouotisg » * 

~ts “elosum soe botonimensd osfo sé sings séteiey sit * * ® 
SAS To emiol bauon sati-iidekos ade besteieness +1 sonde ig 
80° IDtMenmantg bag amon ot 458 nonwd 

3 mr nite Sinsoed idove sedate eitow lesusootidove bromA 
‘821d. 689 beisfaqwoo: eew yuntneo az OL sds pl sdnet setat ods 
beoose end ni vino dud sneedsno sds od efseso oda moult acrtre. 
“sit evel sivtoesinéts ceetsio bib vantnso dz Vt sda to Ided 


7 “8tsio 203 deafi gd | .ssnsoosidows svienstsbh to eoDnsoeininey 


~eeb aeiluse to eneisnetxe bas enotésmuctensa viteom sie ewe 


“ebW Sintoetidors: neesede: doner’ ofd edeiblind: wen: 108 ~Bnot 
. beviegss evenis seouls enhieeb aekxed .Lebom s {etsne8 ni 
iain To dan0e ‘bas yLenistxs eid es s1pEo reWoOl’) esas0° ORt 
‘pam epete sien: nem eveodsdor Iiswe so r{¢aneo: Isuxesai ond ea 


0h 90 ssadt no doidw basois .faenod. tor seno9) tiseo: sno Adin 
find wene10% ©. bntbitnd end to usntw edt heapvor ers eebia +6 


ed-yitemmyeitotate Liv neve bsssoimoberg: sagiq: relu209 etath 


| tO" egeNOS vd bedascos esen seieas sd?» berebtence events dos 


baste. (based entoTosnemedasixe oft) 10® ti eo0etaess noxt blod 
ee: dbeqigo0e okseesq oitess dsvestism oft al) .evt 


A . >. | Bote. 7 ; Pree fs wr’, als 


“edenimaetes sonsinevnes tod bicker esw edoted neds sa0om eels \\\ 


242 | 
ornament the foliage ornament of the early Renaissance ‘is al- 


A;ynost entirely supplanted. These dominated the minor arts ‘in 


wood and metal sculpture in the same manner as the ornamental 
forms of the architecture, indeed until the besginnins of the 
17 th century. Then it passes into the uBbly Sristbe style,* * * 
that on its part forms a precursor of the Barocco style and 
directly leads to that. The painting also makes use of the 
grotesaques (page 193) derived from Itaiy, for the decoration 
of ceilings and vaults, more rarely for the ornamentation of 
walls. Yet the grotesques did not extend beyond the German 
states (Austria and southern Germany), and therebascanrale, 
was executed under the lead of masters, who had. negaleees th- 
eir training in Italy. (#is. 339). 

* As the ariginal creator of overiaid ornament ts to be re- 
garded the Nuremberg sculptur, form-cutter and nrnamental dr- 
ajteman, Peter Flétner, wtthk whom the ftrst design ortginated 
about 1540. He died in the year 1548. 7 

* * Cartouche fe a pasteboard roll. 

* * *& Phe gristée style 4s aleo denominated*ear muscle” at- 
yle, since it tremsferned the scholl-lLike round forms of the 
human. ear to frame and ornamental work. 

‘Among architectural works chateau architecture stands “in t 
the first rank. In the 16 th century was completed the tran- 
sition from the castle to the chateau; but only in the second 
half of bhe 17 th century did chateau arbhitecture lose the 
reminiscences of defensive architecture. At first the chate- 
aus are mostly transformations and extensions of earlier des- 
‘igns. Bor new buildings the French chateau architecture was 
in general a model. barger designs almost always received _. 
two courts (lower court as the external, and court of honor 
as the internal court); on small chateaus men were satisfied 
with one court (court of honor), around which on three or fo- ; 
ur sides are srouned the wingu of the buildings. Por new buil- : 
dings regular plans predominated, even if strictlsymmetry be 
not always considered. The angles were accented by towers or 
pold frontispieces. For the arrangement of the ground plans, 
yf also wore than before was regard fer convenience determinat- 
‘ive. In the mediaeval castle passage occurred through the 


Er eee 


| 


: 


" ane enteal a neve ,betnsise dices je ila wok .emoot 
edd fur edt od bexedbs yilsaotéessat nen avesiedo yleoniag 


~dt bedoses od yduo bivode esonttq yd beiquoce exnendusas ens 
esiiinges niedtuoe edt af .ednevieer te sgisdo ai enoe4 ig009 
“ “<1 hobsois isledastoe1 s eved ylteom eusotsds se022 odd 
~ eb enotssoiagumos sdt uset srobiss0o es: eooLsieq end ossdwe 
‘SVSi euaestsdo sedi dtton weddast sof .(48E ~8i2) .emoor ond 
“ei0°edsof) .eovsisa neitetl ot of datbsogcext02 elsdtid- ane 
~aee issacmenon basa sid Snitasw ese susie nswe diaigqe evite 
te stisq nistie0 sisomoo yinO <sensiiesli edt of seilnuosa se 
«igi peosieq nsidstI. to dove déiw t1satiude te soséda blo sis 
St) lo noisesones 31s odd hevomer ast wos exilesa ot s8bt0 
GL esseivoess saidesI ofa to tedd wort ésw exedasm nxedtion 
beotgaiu e1ew eovirom wen bas bio seods won e308 Of bas omit 
(SSE chit) .cedto. dose sbiesd beosio: bas saisrtees sHOdsiw 
~ 8 eivow tieds o¢ yneh sonnso ow yeiotlomte IIs asiw besbal 
=sis ot neve tihvoe ensiissI. sd? .maeno Sepusvatoiq ylSnoase 
fievs dscoll edd ni tud yecsfea & ot ant liewd elaate sit tev 
-faio s To istestaedo sat s9eetes beatster GSeteio eteoniira sat 
i sw ysots Sacove ext .tnmomicoat bana ahieoeb ni sevod etnee 
oad emoos Suigesisersod bas Isivitio odd aot beri iity yiteor 
-adnsvmee edd 103 brids edt base .tav0o ens a0% YIode bnooea 
<fe018sas dtiw meer seneibus sid sisw emoor Sastaognal geom saT 


& tedmun edT \.psotado ot to feasdo eds bos Lied Isdeet sud. 


sisisebom aittiwitaed {litte sasw emoos Saivel ond to: exie baa 
“878 .sluditesy ods vino elied sd¢ bas S2eng eebies, .estwil 


emtet edd nt bedscut ydisotteious exon esonsidtas bas eyewii . 


~es:iiese yviseom eieqsdo sesteno sat sad -9onseetisnsh ed¢ to 
| eUtHdnso ds Viveds Io Sciowiged ond at Ligon oidto® dentem 
— -te8 idwosy to coitio:sdt nt bnillowd etussieio. sat (BSE. ate) 


8800 ddiw Jisoo edd oF hexvedbe .mozsoungemes dota s ni OBE |S 


 sdP .boissa cidso8 ens ci bsaolovebiybsests bed seas .p0or 
‘Rnivid sdf -.enoorsiew be ezericsd edd eniesao® yiose bhoso1d 

a 8 8 even yivasopssl yeas tyi0ote t9aqqm edd we bavot eis ERCOT 
 eemestadeed edt of .moosedns bhessert yfiwtedess bas esoiosae 
ebsel yswiooh oonsiéas; edt .drsmue@: nh bae yvaswis® dtzon ni 

B. _ceadonpetbises: wo11eo of bas. Ureanae edd icmoninene oun s oti 


; pe Teoh Lo oo <7 See ee A rey 


243 
rooms. Now passages were arranded, even if not always. In 
princely chateaus men intentionally adhered to the rule, that 
the apartments occupied by princes should only be reached th- 
rough rooms in charge of servants. In the southern countries 
the Sreat chateaus mostly have a rectangular arcaded court, 
where the porticos as corridors form the communications for 
the rooms. (Hig. 321). But farther north the chateaus have 
‘pat Litthe corresponding to the Italian palaces. To the ere- 
ative spirit even there was wanting the grand monumental sen- 
se peculiar to the Italians. Only compare certain parts of 
the old pahace at Stuttsart with such of Italian palacesjin .- 
order to realize how far removed the art conception of the 
northern masters was from that of the Italian associates in 
time and in art, how those old and new motives were mingled 
without restraint and placed beside each other. (Fis. 332). 
indeed with all simplicity we cannot deny to their works a 
strongly picturesque charm. The Italians sought even to ele- 
vate the simple dwelling to a palace; but in the North even 
the prince’s chateau retained rather the character of a citi- 
zen’s house in design and treatment. The ground story was m 
mostly utilized for the official and housekeeping rooms, the 
second story for the court, and the third for the servants. 
Fhe most important rooms were the audience room with anteroon, 
the festal hall and the chapel of the chateau. The number a 
and size of the living rooms were still kept within moderate 
limits. sesides these and the halls only the vestibule, sta- 
irways and entrances were artistically treated in the forms 
of the Renaissance. But the chateau chapels mostly stell -re- 
mained Gothic until in the beginning of the 17 th century. 
(wis. 324). The citizen’”s dwelling in the cities of south Ber- 


j)9 many, in a vich construction, adhered to the court with post- 
dieos, that had already developed in the Gothic oeriod. The 


ground story contains the business and warerooms. The biving 
reoms are found in the upper story; they fseequently have as 
spacious and tastefully treated anteroon. ‘In the Netherbands, 
‘in north Germany and ‘in Denmark, the entrance doorway leads 
into a high ‘westibule, the hall, and in narrow buildings into 
a lobby, that occupies the entire width of the house. BDirect- 


ja nomen saliebbese odin sobihed er aide *Yiose Ts0cge 
“ise ybeorls: .tdetit topisise » es yddaac <eifete doibatw es 
.eeitelish ots bas sesti¢ y§ .enbieed espeetndoiq sssaqge yi 


 reevieds .yI0se Teqqy edd Io BHOON anénictbs edt oF basi nota.’ 


~odest YIeV & eouinp0e .sdaied esi yd aeisoani viseals oinoig 
‘@ulisioeges ei) ysodnes it S61 edt elied yeio au .dcedte Int 
-vigeotgmi of eoisio sds to esovsebss eid didiftxe veal .dore 
cidsob edt ni eA ,tnomntEeveR vsio esd Io tase odd teoud vis 
emoog Setivuev bre sovities ebsel ead vaoge basors sat  .beivea 
~{t [snxesxe deexh & doidw ot .yrode recan ans {‘esasioism s0% 
“thor tsere ofd enissnoo .(688 .2¢%) edael asste eseste io THRE 
~aei sit fos {isms sit to eknidtie odd sot emoor -ifsa. *ansat 
9oitext, le. davoo ess soi bas sattiaw 10% smoos .efioanes: ob 
ed¢.af ee .tniblind edt ddiw betsonnoo sewot & et mobiea tov 
dusidieq .bibmelqa vwitcespe1? ei dnemeiups sdT .este olbhin 
~saq seitdiexevian off .gassigvio ext to Lied teeor8 edt ai yise 
afedd eosig favor siedt al .eantblivd stidua senso ens shes 
~dennso ensiesh yiotsenom Lavesibem odd of enoitales lanrkise 
.boamedoxe: .oftiesit bas sovemnon got enibiiud ede .beineb od 
wdteomore ~odti odd bas eeewed biiwe .petisnere  feseasod) 
emi aporgoteibaos fenibise wiedd dedd .yilenasani: hesnsio oe 
ae | -bexinkoost sc yehaol 
canada unk Isqoig se oF aftedds son bib eapdoesidows sowsddD 
“dd ets" evoihidss gaslotv sa?  .soneeeiaash sishdios eft af 
~ 0d eidizeog es eldssovatun es exvew .Oofisq edd bodustetb ce 


- SL e902 to: 18t18H0 teal eis ot lita .nottuieve ef{dssise str 


[tdag- bosbai .yasstass “dd. .f edt ot astef asve bas yindoeosds 

~whleidovlerensd ni bevedbs sam .seW “atseyiQ& ody Yo bne oad 

of bos okieoh Lanvetxe esua oi déod .sesosasdo oidsod edd oF 
7A: Sen mtoT bavorz ohf .ednemels souseeteaeh adit nofsscidnes 
Bp Patodo) ofante sino efets sicdo ddim. dotndo LLed\ ond lite 
~toesidors Jsex1g heaefeveb adivesk edd brewaoe OGuL svods ro1g 
—— usia edt tefenerd don bib yodd gee. .ysivitos Leas 
; ($8O 26) ,nedo1NNo axedsaen eds oF omoH Mt dousde singel ods 
rea 6 ‘eidane hae ehnsliedéell edt ai videtosgee tua .eveiled tHRiw 
“ - | diame ctben: sos s89i8 esdotuds beleie oaxas a find oeis: ents 
to. wo: stappereense dimteq eyswle eodoisdg sued? .tnomognaaas. 


Ad oe a ~ a My 
‘ye ee a oe she Bi Pe eee A 


B44: 
Directly from the vestibule or lobby a stairway leads to the 
upper story. This is treated with particular attention, part- 
as windins stairs, partly as a straight flight. Already ear- 
ly appear picturesque designs. By these and the galleries, 
vvowhich lead to the adjoining rooms of the upper story, the ves- 
tibuke, already imposing by its height, acquires a very taste- 
ful effect. In city halls the 16 th century is especially r 
rich. They exhibit the endeavors of the cities to impressiv- 
ely treat the seat of the city government. As in the Gothic 
period, the ground story has large porticos and vaulted ‘rooms 
for merchants: the upper story, to which a great external fl- 
ight of steps often leads (Fig. 323), contains the sreat cit- 
‘izens’ halk, rooms for the sittings of the small and the lar- 
ge councils, rooms for writing and for the court of justice. 
Not seldom is a tower connected with the building, as in the 
middle ages. The equipment is frequently splendid, particul- 
arly in the great hall ef the citizens. The universities pre- 
cede the other public buildings. Im their ground plans their 
erisinal relations to the mediaeval monastery designs cannot 
be denied. mhe buildings for commerce and traffic, exchanges, 
(bourses), granaries, Suild houses and the like, are mostly 
so changed internally, that their original condition canine 
longer be recognized. 

Ghurch architecture did not attain to a proper aevehebnent 
in the northern Renaissance. The violent religious wars, .th- 
at disturbed the period, were as unfavorable as possible to 
‘its suitable evolution. Until in the last quarter of the 16 
thecentury and even later in the 1. th century, indeed until 
the end of the 30 years’ war, men adhered in general chiefly 
to the Gothic character, both in pure external design and in 
combination with Renaissance elements. Phe ground form was | 
still: the hall: church with choir aisle or a simple choir. F 
from about 1.89 onward the Jesuits developed great architect- 
ural activity. But they did not transfer the plan scheme of 
the Jesuit church in Rome to the ‘northern churches, as one 
might believe, but especially in the Netherlands and on the 
Rhine also built three aisled churches after the mediaeval 
arrangement. Fhese churches always permit the recognition of 


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BF 


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- e ‘ s abled ut soal yeirofen eds ni eehormds niedscom oft cetw 
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Pes tot tt a eee ; SepeopRy | ae 
sompeeiane® odd ot baeetin PNB Mac te Btoveshue wen: deh | 
Bas Soivaice snivih oifodseD ond ol .aete ons gu dood .bokrser 
tor sad Yo t1sq' Soessoomt: teow eat EwrOt eesm ods Yo onia16 tte} 
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“Os Perk? st0cteseda ean ttolsa sat to vneastusise sidetion & 
#29 esedmom ile tend .oetw dose ai beebni’ ona ,705' bewso od 
“(edd To t0fvesng ent wi Coveke Lie wort bos nofteserhkwod adé 
~suedt)  .redose1q: edd) hasterebum yireoora bas sex biwoo do THO 


t& 
° ”~ 


eis feanes es) tigqing edt evéiw od weiss sc seum sdauond oxet yt 
~abe 10% .doindo sd¢ Io toliesar ons ni sidieeog ea noitecof ; 
~" bas’ Betob«tees 5 bontsete: ozle vex fofasnmom ent anisezetat . i 
“IB Snivib snes eetorg: od? .ootvaee sedis eiamis yaoy boebat i 
-oe1ib) ed: denn totdw ot .esnion Lectaso ows B80 Sfioleasss eoty | 
"ihaek .aatie sit bus tiolua sds .suoveh sag TO’ eeys end bes " 


“seed bios’ déod Sanit .seent Susdnssxe of Yo aeideng one bed : 
Satéae\ ed? *Leliieeom zevensdw (emit. omee ens vs bas flew ns a 
~anibtooos! betnsits od send Kounto.sd7 Yo Shieebh ferctostiions 
VI9d oa Teises vistsfqnos s bedoset seveq exrgeceianss sn? tet a 
3 0d based ased Jon esd tt exedeeq :meldorg eées Yo nciduloe ‘i 
“bi oni’ redsi ond to ednibited dows#e emoe ti neve eb etat 
on Ratdnew son oxew etunesds hosbal isk oF asen YISV SMOs oF 
~de9t019 edd io met bowers of3 e@ erwsourys fertne0o sds etiag R 
 wntetie need seven esd at@inisstom SPioiteb & se .otwiD soe | S 
“80 bas, (em0 tae ions eae anismes weinekto efi¢ yitasncext hs } 
_ ~det 8 28 eseequs yitetdo dotdw .AeeLs ett Yo netsieoo edd wil | 
+ bextt eyewis edt es Liew ee. .enete lo beseursenco vionteisl . 
 brsgem tuodsiwn retie bas frofec sds ehaewod bogoeaib \edase 
whe dtiw esivel{sp to neitaeant sda bas (sexe ssind tes Yas oF 
| Saaheehten at “stesosisio) heknedo 8 ictyesnt edt evaa evece ralia 
ve .odoin sasdie {lame 8 dviw dooudo fad ods soaceetsne® ote 
~ (Sued ode bas tiring edt sexle ott: ‘ohieed basée cobte ssonn 
r on oeiceabepepet ‘bue edteooao cfd ts -yseLTee ebro etd Ksin 
o wous od? * .boB to eewok Instestvowh gdt Yo mod kotaig9M, 
asdf oeb arene ismedones & to coated end =y og 


245 ) 
a certain greatness in the architectural disposition. Other- 
wise the northern churches in the majority lack in design and 
equipment a treatment intended for an impressive internal ef- 
fect. 
With new endeawors Protestantism, arising in the Renaissance 
period, took up the plan. In the Gatholic divine service the 


»roefferings of the mass forms the most ‘important part of the ‘ch- 


urch worship, in the Protestant the sermon, on the contrary. 
A suitable arrangement of the pulpit was therefore first to 

be cared for, and indeed in such wise, that all members of t 
the congregation and from all phates in the interior of the 
church could see and properly understand the preacher. There- 
fore thought must be taken to give the pulpit as central a 1: 
location as possible in the interior of the church. For adm- 
inistering the communion was also retained a restricted and 
indeed very simple altar service. The protestant divine ser- 
vice theeefore has two central points, to which must be direc- 
ted the eyes of the devout, the pulpit and the altar. Men h 
had the problem of so arranging these, that both could be se- 
en well and at the same time, whenever possible. The entire 
architectural design of the church bust be arranged accordins- 
ly. The Renaissance never reached a completely satisfactory 
solution of this problem; perhaps it has not been found to t 
this day, even if some church buildings of the later time ha- 
ve come very near to it. Indeed attempts were not wanting to 
take the central structure as the ground form of the Protest- 
ant chureh. Yet a definite normal: ‘form has never been attain- 
ed. Frequently the organism remains the ancient one, and on- 
ly the position of the altar, which chiefly appears as a tab- 
le simply constructed of stone, as well as the always fixed 
seats, directed towards the pulpit and altar without regard 

te any definite axis, and the insertion of galleries with si- 
milar seats gave the interior a changed character. In the 1 
late Renaissance the hall chuech with a small altar niche, at 
whose sides séand beside the altar the pulpit and the font, 
with the organ gallery at the opposite end, became a commonly 
occurring form of the Protestant House of God. * The ground 
plan thus received the form of a rectangle, where ‘the altar 


a a at 


we arabbiaesiihesbents specs Satiben ts beoala ssd¢ie: cen 
 @ eid a0 .sbie sedn0f ono to ofbbim edt ts 10) 230 gvo vii 
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~sd) teduhossues: 8 to etetenoo +3 . (a6 Rif) .fsotayt omeosd 
dd mt .9bie wesa0l odd ao sdota wohuiw yad Ianotydog. ddtw ii 
edt Saied [few ons to olane odt no sbhteed .1stie oad gated af 
“Iie e168 ebas edd se bus shia isgn0f edizougs. sis cO .tialea 
-1q @ ai bsiieises aew snomerinpss ecg avaT -peisell(ss bedus 
~ow asee oc bivode tiaqiua eds bus 1wetis sdé tena .T2ANsm TeGo 
-e9eala {Ile mont if 

“seeedy. bod. SiONsuQuk eds YMOM Netsom Lsito sis sanondad # 
~ Xo moig maotitens Ohi A988 eqsq) nosmeiwkh tp leonde sis «er 
avinots SUS BS sesieiioy Johs Moltniss§io sit dtiu eupiian et 
Sher a ‘NOMKGIHS JowtToso Agid sat bawone bkoboatus 

698 5 bebaeaees 109 ecivise smivib eft to ysiotilamia sito? 
eaedt lo dosite ciseidss oct -Jnomstsexs odd ai goigsubes ts 
edt Yo gedéd braided 183 beniames sioisisda saidose1tg 103 elisd 
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eg0tbfind dousdo dneseotord omoe ererreee ont af besenters 
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~eo0ne edd lo eoxgsowrte omoe at edootis istaespaem das bossa 
| -botseq dairbe 

‘tedd ,88 ewote sonseetsne® sieitien ext to snomeolsveb si? 
“msnto supitns bas orns09 ,90msi8 bas wniege ot ee .st ot asys 
SIeNW ,teidedos besseqge aisosit6 madto teasrt ts exsdmes Isdas 
8 bas  enortibbe YIsteqasisos diiw henidmoo tetted yiievbera 


sviten edd st eelyas to sxudxrm eia® “16dtoRod boent yiwole | 


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‘SE1N0R edd al .cesadett. tebssi009h bebsofyevo teonls ns citiw 
ans 6dd duodA .boitiasts eten entot edg “Yinsae0 dt 8L sad to 


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he oH epaiblind edt hae etasoo edz 74 eigie mi ebosio 6 betas 
| 788 s10m aids ai) eeieasbaes asiieal ond. escaseitnt sieda 196 
ett bei ear arvatee aniterran st Vn bas e19¥) 


Be Dees 
1 * , As 
; eee A ye i sla Sib 


A odd ,eonszcisso® ateds ion “feooxa edd begoleves ei ti to ofbi i$ 


} 


246 

was either placed at one end, whesé corners were then genera- 
lly cut off, or at the middle of one longer side. for this » 
plan the chapel in the old chateau at Stuttgart (efter 1533) 
pecame typical. (is. 324). Et consists of a rectangular ha- 
11. with polkygonal bay window niche on the longer side, in th- 
is being the altar, beside on the angle of the wall being the 
pulpit. On the opposite longer side and at the ends are arr- 
anged galleries. Thus the requirement was satisfied in a pr- 
oper manner, that the altar and the pulpit should be seen we- 
li: frem all places. * 

* Debrosse, the chief master among the Huguenots ‘kad chosen 
for his chapel at Gharenton (page 284): the basilican. plan ‘ef 
the antique with the alteration, that galleries in two stortes 
‘extended around the high eentral. interior. 

Foctne simplicity of the divine service corresponded a gre- 
at reduction in the treatment. The artistic effect of these 
halls for preaching therefore remained far behind that of the 
religious buildings of Gatholicism. Gertainly there also or- 


foo ddinated in the Renaissance some Protestant church buildings 


(f3dle of it is developed the proper northern Renaissance, the 


worthy of consideration. ‘Rut Protes&santism [Lirst aspired to 
grand and monumental effects in some structures of the succe- 
eding period. 

Fhe develooment of the northern Renaissance shows us, that 
even in it, as in Soain and France, Gothic and antique ornamn- 
ental members at first often directin appeared together, were 
Sradvally better combined with contemporary additions, ands 
slowly fused togetner. This mixture of styles in the native 
art with the new form elements denotes in all countries the 
Character of the early Renaissance. It corresponds -in the h 
history of the evoluticn Ho the Quattrocento of upper Italy. 
its buildings are full of picturesque charm and frequently w 
with an almost overloaded decorativi richness. In the course 
of the 16 th-century the forms were clarified. About the mid- 


high Renaissance. At about the end of the century again occ- 
urred a change in style. At the courts and the buildings un- 
der their influences the Italian tendencies in their more se- 
vere and scholastic conception acquired new Dower and finally 


ree i ay Anse ieusitehiiec bi ~foxsaeo eas 
Wa tbe: Saeietb exow eft st yieltottisa .elooed six to 
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| bexssaceeib yletelonoo yett dotdiw at ,aseteso ft SI eds te 1 


vatentged edt to sisi “yib bedetideses yiisnbsis eft sasha 


THER AS 


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pag anol 96087 bedsar8ito meas bes .meitogesb Lectsifoo bas. 


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rage Gort ifeeti boert (bnsifck) ebos{eense gaendson sat dote 


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| ~oneul tai neibansr08 r9baw sevisow evaserians® betsioei seart 
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oe} 4% i] i — a q a 


: - » =e 
baad ne Peis 


et 
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ae ee 


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aa oo a eee ee 


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4 
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-bien the northern Netherlands (Solland) freed itself from Spa- 


a 


aracter of the Renaissance. In the thirties apoeared an ear- 


247 
the control. The late Renaissance.commenced. Sut in the art 
of the people, particularly in the more distant provinces, t 
the mediaeval motives were retained until in the first quart- 
er of the 17 th centurn, in which they completely disappeared 


under the gradually established dry elements of the beginnings 


Barocco style. 


TI. #volation in the Different Countries and the 
Monuments. 
1. The Netherlands. 
fo the Netherlands belonsed in the 16 th century, besides 
the existing kingdoms of that name and of Belgium, also Luxem- 
burg and some adjacent provinces of France, being altosether 


17 provinces, each one of which had a certain independence in 


its Sovernment. In the northern provinces predominated the 
German language and culture; in the southern the Romanesque= 
Prence (Walloon) had the preponderance. Under Gharles V. (pa- 
ge 242), who was himself borneand brought up in the country, 
it reached extraordinary prosperity by the flourishins comme- 
rece and industries. But under his son Philip II began about 
1566 the insurrection of the Netherlands against religious 
and political despotism, and then originated those lons and. 
bloody wars for freedom from Spanish rule, as a result of wh- 


in, while the southern provinces remained under Spanish rule. 
These were held by Catholicism; but Holland became Protestant. 
The national and religious opposition between the southern a 
and nortnern Netherlands likewise impressed itself on the ar- 
chibecture. 

About the end of the 15 th century (about after 1480) the 
first isolated Renaissance motives under Bursundian influenc- 
es penetrated into the flourishing late Gothic of the Nether- 
lands: but only with the beginning of the 16 th century did 
they acquire a Sreater extent. Belgium preceded in time. Al- 
ready before the end of the second decade buildings arose th- 
ere, on which the architecture exhibits the predominatins ch- 


nest endeavor for a more severe architectural subdivision, e- 
ven if also on the whole only a certain sham organism was at- 


Roksan: rane Daa Si. abieres- va cis dokde beateses 
| © mdacmau ents. sind dude se (eoupesdsus enngnsos) tasuenx0 edt 
ha haeg: suolses # asged OSE! suodd «9409 yiunisiacaue ybsed 
“06 ong ni beeasigxs ehiswa0e ned wont .eseisoads nsiierl edd 
weottisq ses10l sis ai .siudossiviows teldces bas [soigesivess 
“Isve as .eiives) eit Yo ywivitos Lewndosdidose ond yd viael 
cedw bevaitsos osis doidw tis asilssl to sonseltat eoineased 
~adedé oini boarsq -~ OL8!l tuods -- eastoesisiors asigzicd ens 
‘on .0909% 
Soudeans® setaish eas to tnomuaom [gavtostidors satot sc% 
~dw ,bisheqes8 of sgoyu® .1e¢eem asibavsawe 6 yd bensiseb caw 
Mood .phasiiedsel efit to 1ehlodsbes2 .sisdedd to so1sbsam mo 
-Giidoot ts eoslsq 18@ to ustblicd sis a0Y-soivase rsd otni 
~ @ueuaebfed ioodmeA yd beeivaeqce eew notiuoexs off 6 (TLEr) 
~iihovdsedtdotardeiboslisdiel dasscocmi teaxi oda .nitdosé to 
© e863e odt so ylentise booga [lite one sud ,Soneesisnsl odz 
edt .eonseeiansf sit of oinsoD sdel mort noksienexd $49 to 
~fmobeaq has bimid sadwemoe dtiw svudounrte sicmia s ei eosiag 
Ows odd oi aeil sostte feoioniaa eff .enr0ot dones® anisen 
2 aus sauod off .esbsost ebie bas gnord e43 lo asides. taeaR 


~amem1e§ ash yo (€fGl) nifdoe¥ at (nomise ssexb) afs3 noBeore’ ¢ 


“add ebsost woiten yisv 27 mo ewote vbestia efeeeuss wort eg 


-Hoftsicosh Istuemeuto dois tdin beagosxe vifuteosr8 esabio os - 


sew (NGEI-GSEf) eoburG t2 Seibliod yisomeds ‘blo Iwitvasd od? 

(seTeiasexke msidetadd yd alinuc bas soif{sh anadot vd benkiesd 
éa8.fegone2 af eenti iekactte dsiw arsbro ows aad. ( 8S& -229) 
- duoddiw befitoaa bas benieidasy yter Lise eis esotri0p sid 
‘ @eyaso edd ch etosed ofddoD edt eoddad edz nO -Sonebtilerar 
sbaost end i9ve bsrsddeoe tnensate edd Suh .edex%oone oad fue 
osigief ea® .sxsq vieritas yheotls at (eogpecdsis. auagosce) 


@ ytio yletete add aieytiantsa J fvt eaf Sdididrs sonsxeieges 


 eebnola 1© dhaeixV ob entlonv09 yo (84L~Lean)) qrented ts Lisa 

edt df 00 .xontbyn€ feel bas .en20l08 sb tntsvorh to fiqua s 
bs agiesh at d%8 sisdiiden eds Adin: ben tdmos-ehuyys sawyeunet ies I 
_ ehsoet etifeeoelag od® (LSE .8t8)-.cendem youed sev s ad: 
— elbbta bebivitdse yiseix 8 yo usdo1d has débiw ai Satbagsys. 
‘Prete r9ew9l dedeoksenn S8il-ooid109 & svoda asd aoidoehoiq 


a + 90d 20 eheseoboq ent no -anisess anebre xosee {td iLene ond. 
>. ~ ena ere tsa sade * bas etsgetsa wobaiw 


Cd s 
S _ = 
ae ae ee eS Se : no 
<8 2 25 6 SS OS Se ee 


248 

attained, which was broken by details of independent creation. 
‘fhe ornament (ecanthus arabesques) at about this time was al- 
ready surprisingly pure. About 1540 began a zealous study of 
the Italian theorists, from then onwards ‘expressed in the ec- 
clesiastical and sechlar architecture, in the former particu- 
larly by the architectural activity of the Jesuits, an ever 
deepenins influence of Italian art, which also continued when 
the Pelgian architecture -- about 1610 -- passed into the Ba- 
rocce. 

fhe forst architectural monument of the Belgian Renaissance 
was designed by a Burgundian master, Guyot de Beauregard, wh- 
om margaret of Austria, Stadtholder of the Netherlands, took 
into her service for the buildins of her palace at Mechlin. 
(1517). The execution was supervised by Rombout Keldermans 
of Mechlin, the first important Netherlandish ‘afchiteét of - 
the Renaissance, but who still stood entirely on the stage o 
ef the transition from late Gothic to the Renaissance. The 
palace is a simple structure with somewhat timid and predomi- 
nating French forms. Ets principal effect lies in the two 
great sabdles of the front and side facades. The house gum G 


£ep@rossen Salm (great salmon) in Mecnlin (1519) by Jan Borrema- 


ns Irom Brussels already shows on its very narrow facade thr- 
eé orders gracefully executed with rich ornamental decoration. 
fhe beaufiful old chancery building at Bruges (1535-1537) was 
designed by Johann Wallot and built by Christian Sixdeniers 
(Pid, 325), has two orders with stronger lines in seneral.But 
the cornices are still very restrained and profiled without j 
intelligence. On the gables the Gothic reacts in the curves 
and the crockets. But the ornament scattered over the facade 
(acanthus arabesques) is already entirely pure. Phe Bélsian 
Renaissance exhibits its full maturity in the stately city h. 
hall at Antwerp (1561-1585) by Gornelius de Vriendt or Floris, * 
& pupil of Giovanni da Bologna, and Paul Snydinex. On it the 
Italiatssymustry is combined iwith the northern art in design 

in a very) happy manner. (Pigs. 322). The palace-lbike facade 
extending in width and broken by a richly subdivided middle 
projection has above a portico-lize rusticated lower story 

two small pilaster orders resting on the pedestals of the 
window parapets and a crowning half story, treated as an open 


ge abel elie a eibbia natuihencrthaniss eat seisites 
qlesisus et mofeverqmi Lexgned dT. ‘ Motsetiwis? <1if-rewos 6 

q -bned oivsbsos benteidees edd at elteteb exo .deibnslascash 
“s99%s) vont 8 te geidiicd softest edt) no nese od van von® 

| SbsosT y16se ons edT .yavso90 Ad SL eds mi voeTIei bas (LST 
eds YTote 19gqu eds nt bas of10G eds yaote bawors ods ai eae 
befbsad vieer) cele daucds ,sldon ni: rebs0 19seelic e¢decamed 
sid to Atow dnsticami Jesl odd ei Qnzblind vid? .aoemtecrt 
(2861 besefiguos) eleeau18 t6 ooeleq od? soonsesiansh ssizles 
ens Ht [lite siflevasr? nsmeorste bos Lantbaeo eas stot afiad 
aoe eid bas (SSSI beibd) asyo asv asitesds€ yd yandnes ax @f 


eas to welenesd soouib a etidzdxs (008! beib) aeyow asy doosl)\, 


sedootinois edi yd [foe nsitkied ot sonsee faged stel aecisst 
-deiiduq bed bos yledi ni eoibuse sbhem bed neyo nav aebis eat 
“08 To ebetblind edt le ekaiwesb détw daow te01R 8 (SS3I) be 
“Aso on basel ment yO beowhoasdni yousbass gis ed? .sm08 ened 
-etewollol 49 

“49 efs - NOS NSOHl ef so hetongsesh si einol® suiisorovu * 
“sh sebio Yo yllnuten ed of etnscun shouotano sit tus .edouet 
“DUNG Donitalrh o Yo sotaero e6t sf eh bank aedto sis ad ost 
“MOHD SP WAL Oiyds ssio9iR sAt mid asat{e bemon .Siuis Jotnem 
Y Benes AS)a Heltantémon a sedesuotios slants ys ben ianstos 
-880it0m AShimie baa ehaad .snootsst 

visoiade eiom bas tebscl sxew encitibsst Blo end baeffo8 al 
eteds betentzine seat eenibsind fcnseciens eux? .bevaseex3 
Red edd wott medy a0 .yossueo dt OL ons to elbbin edz suede 
~abneqebai Isneiden sot grivitte ocfvezisas as betesacs oninas 
*enesidio odd to' moitisees beasergxe ns ef das basifok .son 
~on abad Isebi seel einti sroteiea® sor|eds anilisvera sizige 
-3s 18 esedd iL -amis ienicsixe stintteb esueie bus ciseiies 
ot breket ni 10% bewso ei dsow odd ad’ ynomead fs. nedg ,beatad 
etenat as eved aitew est evctsveds bad! Jeasmtesis (suck odd 
S Jom se dome. ,ceoqiusa ated io noheeevgxe guitiaca f Ader 
Tet Toveshae ens dotdw at .enoisseno reddo mi bestaiss evswis 
Praee Gwe: ARP ati A -€¢Jeninobsiq ysifednowenom 
~ ete Yo Med. buoes odd af yiivitoe Isquigedtigice [svensk at > 
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, 


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tm, = bar att tt i bs J 1% pare De 


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249 
Sallery. The strongly aspiring middle buildins passes into 
a tower-like termination. The general impression is entirely 


Netherlandish. More details in the restrained academic tend- 
ency may be seen on the justice building at Burnes (after 


1612) and falling in the 17 th century. Its two story facade 
has in the ground story the Doric and in the upper story the 


Gomposise pilaster order in noble, though also freely handled 
treatment. This buildins is the last important work of the 
Belgian Renaissance. The palace at Brussels (completed 1564) 


built for the cardinal and statesman Granvella still if the 

16 th century by Sebastian van Noyen (died 1557) and his son. 
Jacob van Noyen (died 1600) exhibits a direct transfer of the 
Italian late Renaissance to Belgian soil by the architects. 
The elder van Noyen had made studies in Italy and had publish- 
ed (1562) a great work with drawings of the buildings of ant- 
igue Rome. The art tendency introduced by them found ‘no oth- 
er followers. 

* Coroelius Floris is designated as the inventor of the car- 
touche; out the cartouche appears to be actually of older da- 
te. Qn. the other hand, he ts the creator of a distinet orna- 
mental style, named after him the Floris style, that is char- 
acterized ay simple cartouches tn combination with hermes, f 
festoons, bands and similar motives. 

In Holland the old traditions were longer and more strictly 
preserved. True Renaissancé buildings first originated there 
about the middle of the 16 th century. On them from the bes- 


inning appeared an energetic striving for national independe- 


nee. Holland art is an expressed assertion of the citizens’ 
Spirit prevailing there. Therefore it is less ideal than re- 
alistic and pursues definite external aims. Tf these are at- 
tained, then.a harmony in the work is cared for in regard to 
the formal treatment. And therefore its works have an innate 
truth, a striking expression of their purpose, such as not 4 


always attained in other creations, in which the endeavor for 


monumentality predominates. 

In general arlhitectural activity in the second half of the 
16 th century was greater in the Holland provinces, than in 
the Belgian. The Holland house as the Belsian showed a stron- 


oh ~ lie la A bestesdane ylbacase 
 “sehteeg 047 nt besoes wiceob: suoded) bedi dotdy woidsOw: odd! to 
 aepmofon: 6ien dent) .etaow eilad ysio eds ni: bsonboua bed bas 
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» déiw etsides: bus edied exountsaoe Lesaosixod .ewobniw igive 
78S GOIL siQvoIw ,zekbe Leoisiev bus esfzns sit ts ise eoeaod 
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apiséilinos evoinomied 8 dtiw Snéqcor {soiisemmyeoe bas spp 
+ Topenises ya.eoniisyo hedsaine .eseesa Lsiussesidoss ait to 
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) 908 to) eokseiresosxsds teido sds exs»nemob eso fas eotetes 
‘ sivie 

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(ESE. NRE). oped, fE08l-800N) moinsk. c8atotssdsedt no beecsraxe 


vistitae: .sen1et~edd edif dotdw ,(°S8L) beth) ved ob noverd yd 
od¢ To sense sud niveeoinioo dns enmadoo ,esedesfig etosies 
\(ts Betost9 ashyed te {sd vaio edt a® | .tgentser9 isoiessis 
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Fo TaRif? odd. dtiw satbited sibbim anégeoqmi: ena. .vSH sb asy 

y | Sedeesotni09 bas esmied .ecauloo v2tedeeliq .sn0x% ui vosde 
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sont nt TueIsqas seviesasds sisw sus: Isoteasio to weowend igi 


co a meer repoveteremree* .eteesem aniess 


‘B00 

stronsly emphasized vertical tendency, indeed in a reaction 
of the Gothic, which had become deeply rooted in the people 
and had produced in the city hells works, that were no longer 
surpassed in tae later periods. The columnar and pilaster 
orders were mostly set with very small intervals. They were 
far less employed in Holland that in Belgium, and indeed aln- 
ost entirely for public buildings, partly for entire facades, 
partly for the upper story alone, in the latter case beings 


2oysonetines set on projecting consoles. But they never succeed—- 


ed in @ satisfachory combination with the national forms. G 
gharacteristic of the Holland Renaissance is the combination 
of bricks with cut stone, and the strons color effect produc- 
ed by the alternation of the materials. Projecting blind ar- 
ches consisting of brich and cut stone voussoirs, over rectan- 
sular windows, horizontal continuous belts and ashlhars with 
bosses set at the angles and vertical edges, wrought iron an- 
chers as ornaments, and in the general appearance a pictures- 
gue and unsymmetrical sroupins with a harmonious equilibrium 
of the architectural masses, animated outlines by means of t 
the high stepped sable and fanciful forms of towers (consist- 
ing of superposed diminished low stories with salleries, open 
aisles and ogee domes are the chief characteristics of the 
style. 
Of the more important architectural works, the city hall in 
the Hague (after 1564) yet recalls the Italian Renaissance in 
its subdivision. The developed Holland style is exhibited by 
the city hall at Praneker (4591). But it is most strongly e 
expressed on the abattoir at Harlem(1602-1603) ; Fiss...327, 328) 
by bieven de Key (died 1627), which like the former, entirely 
rejects pilasters, columns and cornices in the sense of the 
Classical treatment. Gn the city hall at Leyden erected at 
the same time (1597-1604), which is likewise ascribed to hie- 
ven de Key, tae imposins middle buildins with the flight of 
steps in front, pilasters, columns, hermes and cornices has 
a form treatment allied to the Renaissance. Rut the general. 
appearance is entirely Butch. In the further development the 
influences of classical art make themselves apparent in incr- 
easing measure. fhe pretty city hall at Bolsward, built in 


Sa at Mer yr 
“pab¥eetouq ysode sesow edé at ewone OLS L-bL6L 


 asde edt '.{88S .8£8) Lesotnice benbieeb yiiwiexsso: bas esloe 
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~sdesa hothselisd?: .aedéegot bien! amsse dLew sda to sont sid 
-82) sexy! ob doiabaek et ooneectansA bueifok ose oa4 te a4 
“009 ditem eedoindS tnssestord edt eXtow ed Saomk .(1SHI-T6 


~18G bedeiidates yisneosa oft ni betoexe od doidw .goitsersbie 


-d9 tebisS edt .mshietami .{stiqso dntwors yvibiasa edt to ess) 


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od? .(086 .bi8) a9wod ersopa 6 dfind et efans.on0 tA asd 
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-souite eat .eixa fentbetiteol sit no esoeLoxro stewos odd stud 
edt sieh .(ysoserselo idiw) smedog fisoidiess edt ewollot sxg 
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2 -egtaeifay uosf eotorsdo seedt (fh .29id08e10 10% dorHdo 
odd t6 eketblivd waitooe ond io. tadt edt leausoetisors zien? 
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| -aebifiesai dsix yisem beacoleveb .setoe1e9 sieves bas vib e@ 
8 deverggs beseniae basfioH ni havod! Loodee eid soy 368 29 
. | Yo sundpedisons eds gatteninos visatéas ,noiensdxe sbiw bua 
| G3 %E ods Yo elbbia' oda su0dh ocnseeinnel dosud sedet 0s 
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a Bund 


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e251 
1614-1616, shows in the upper story projectins columns on con- 
soles and carefully designed tornices. (fig. 329). The sha- 
fts of the columns are crossed by intermediate belts, so that 
the face of tbe wall seems held tosether. The leading maste- 
rs of the late Holland Renaissance is Hendrick de Keyzer (45- 
$7-1621). Among his works the Protestant churches merit con- 
sideration, which he erected in the recently established par- 


forts of the rapidly growins capital, Amsterdam. The Zuider ch- 


urch was built 1603-1611 and has the sround form of a three 
aisied rectangular hall buildins with pulpit at the middle c-. 
column. The elevated middle aisle is covered by a tunnel va- 
ult with transverse arches, and the side aisles by cross vau- 
lts. At one angle is built a square tower (fis. 330). The 
Wester church (1620-1638) has the same transverse design} b 
but the tower projects on the longitudinal axis. The struct- 
ure follows the basilican scheme (with clearstory). Here the 
two extreme intersection are extended as transepts to the he- 
ight ef the middle aisle, while the Zuider church merely has 
two transspts indicated by the heisht of the side aisles. fF 
The two external longer sides were very effectively treated 
thereby. The arcnaitect wished also by this to emphasize the 
transverse axis on the exterior, also accented in the interi- 
or. The Noorder church (1620-1623) has the ground form of a 
Greek cross with lew triangular additions. (#is. 831). The 
four free piers support a central cross vault; the cross ar-. 
ms have tunnel vaults. The pulpit stands at one pier of the 
crossings. The seats are arranged concentric with it, so that 
the diagenal becomes the main axis. Thereby Keyzer neutrali- 
zed in a bold way the disadvantages of the cross plan of a 
church for preaching. All these churches lack galleries, 7. 
Pheir arcnitecturel like that of the secular buildings of the 
master (Gast India Gourt in Amsterdam and Mint at Bnkhuyzen) 
a dry and severe character, developed merely with intelligen- 
ce. But yet his school found in Holland animated approval a 
and wide extension, entirely dominating the architecture of 
the later Butch Renaissance. About the middle of the 17 th 
century was introduced a new period of development, 

More then Tor its artistic and esthetic side the Nethesdaud- 


mm ; aa seabadlida 06s to eundoet indore fieiiosfieitsh 
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te -tes8 


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ot tee (SI61-89 2 SI) II dalobyh seind .eevfeaweds etnssesso19 
ke as ts bosd eae edt so Saintes Soisemigisusedauos oad 
yk OF I9a%0 atid no bas ,weicilod#s® to bainsdszacste 

i "s betenomes secnivorg ods baivevover bas meisassassor9 
“sto08 odd ‘to bay eda {ifsqiontanzemsm, erssacaaue ssoiw bas 


PAs Saad 


ee OT 
% - = 


a 


Suits tee | bt is ales , Ay 


ov annseeson9 ots to noid teoage” aqg¢ mor8 .eneeb to vw 


252 
Netherlandish architecture of the Renaissance must be esteen- 
‘ed for its sreat historical impertance. As we shall see lat- 
er, it exerted a determining and permanent influence, not on- 
‘ly on the architecture of the adjacent countries, but also en 
that of the German coast provinces as far as to the Slawic 
Bast. 


2. Germany, Austria and Switzerland. 
A. Historical Basis, Evolution and Style. 

In the period of the Renaissance (after the imperial diet 
at Cologne in 1512), Germany consisted of ten circles, inclu- 
dings Austria with the exception of the Bohemian provinces, H 
Hungary and the southern Netherlands, thus of small territor- 
ies, internally capriciously governed and externally weak, u 
under the supremacy of the emperor. Under Gharles V, the .he-~ 
ir of the German-Hapsburs and Spanish-Italian countries, Ger- 


/O’many formed a portion of the Hapsburs world empire, and as s 


such was developed in its interests. Gharles’? reign (1519- 
1558) was not fortunate for Germany. He chiefly resided ‘in 
Spain (page 241), leawins Germany to the imperial government. 
and to his brother Ferdinand, reigning after 15265 as kins of 
Bohemia and Hungary, (the later Roman-German emperor). While 
he waged long wars with France for the possession 6of Italy, 
there occurred in Germany violent religious wars by the refor- 
mation, and in connection with these the bloody peasants’ war 
proke out. The former resulted in the division of the empire, 
which restricted a peaceful internal development. First aft- 
er the religious peace of Augsburg (1555) began an improveme- 
nt, and under Berdinand I (41556-1564) and Maxamilian II (1564= 
15768) the German countries enjoyed a period of continued pea- 
ee and Ofshigh material prosperity, which certainly was less- 
ened by political divisions and bitter religious strife, not 
only dDetween Gatholics and Protestants, but also amons the 
Protestants themselves. Under Rudolph IT (1576-1612) set in. 
the counterreformation, aiming on the one hand at an internal 
strensthenins of Gatholicisn, and on the other to fighting P 
Protestantism and recovering the provinces conguered by it, 
and whose supporters werenprincipally the Order of the Socie- 
ty of Jesus. From the opposition of the Protestants to the 


hase tise CE ai Bi 0) to avtusornerd 
gs branes beatisni ufdsetovet .(IT taantbie® s0190m sete!) ba 
wasw ‘eaeoy yids oft beteniatvo ,sotdsniotesysdau0o ond 
~/odd yd' .se1keh Jeodbin oct nf vasmteB o¢ [ated .(Bb8l-818N) 
“-m0D sisw eeiagapeo nemis? edd .dotdw te tovbnon svitowtsesb 
-— @8 beouhes sotselngoa eds .bedeusdixe bar betetesveb ylesela 
‘esw soisgesilivio Jestoelisini bis yaentiyo sd3 bas .dtcw0t 6 
“nimseyeb « beyiexs eew tie To tusmacleveb sit 010 .bevordsesb wu 
br hag vigesh .enoitibsoo leortideq seedt vd somentiat ont 
me Stl «bain sit bas elaoeq edt to etif sad 
to. eeneutin£g odd yieiaso dd SI eit Io sbsoeb didBie odd at 
i bas eidigasorea eemoved yaswisD ni scasecisashi setistt asd 
boow ai .2738. 10ntm sds to eizow saz nit eredwosfs as besbat 
bas eretis oo .e2nidaisa io ehnooasdesd sid oo .eanivesane 
-tI of encom bad odw ,goinsdioem emis sbiswsests nook .edmod 
~twoenete base etosdidows menisdI bas .e2nisebaew afeds at vie 
~tene1s .20f4 edd to ebte eidt no dJnemyoiame adanoe odw .ex]et 
ebifed nteddron edd oF dtuoe edd at bextepos emrot saz baacs 
~ine ybseiie yaetoso dz Sf eft Yo sedtaHp teri? ods al - cedat 
-ais® Bevisom sonesabens® aft dotdw ok .exiow nistico bedsnte 
| OSGL aesiA -car0t cidscS etal veve soneaimobows cisdd begiat 
“ovyed ,ecfh sit to dti0on boetxe ets begseroni souseaetsnshi sad 
| siididxe d1 .enisdovom sid ods bas Jeet03 aaieurivd? edt bo 
| -sh sisti9o a bes soissitey boxim & brewne sataniked ody mott 
_ “Hitaoo eecnscainines oidiod sff .2amtot osc0xs8 oF sottaabioc 
a a ae *\.ymwinso dé VI ed? to Qntmoited sat ck Litau ben 
“88 sboost esodu (15081) predmow ta seuod sehies edt nd * 
“NSH suede ghoevia hao sonnseionel etoi edt of egnoied yleurs 
- ws SawONGg SAS Hi eMOON OAS Lam eoNDXtns BAS waionchast cove 
baa ince utd St4F0D ated dibmsios Whe ‘hedebnawe 1iiss eto yn 
ys “W"NSOHKT Bund sebooo\ Ixuoo $44 te esecartaq sas 
ehepnidstos tiuevs Sonegaiansh nsuts®? to wety Leicnet oct al 
se .elbbia bos atediuoe odd nesvided teertnoo besesuare as BYES 
~aed ef ¢i based sno ef a0 .2s00fvonrg nemie® asedtion sda dae 
© ef3 90. ,elgqosq oft to rsdosisi0 sds Yo yaiarevib edt ao be 
é a to eonee{ini bas epnesosoos edd Yo ysidsupsar sis no sedvo 
: } esedw. ieoee eds al .d18 netlist 


at 


os 


A 253 
suppression of their confession by the Bohemian kins Perdina- 
nd (later emperor Ferdinand II), favorably inclined toward 
the counterreformation, originated the thirty years’ war 


(1618-1648), fatal to Germany in the highest degree, by the 


destructive conduct ef which, the German countries were con- 
pletely devastated and exhausted, the population reduced to | 
a fourth, and the ordinary and intellectual civilization was 
destroyed. On the development of art was exerted a determin- 
ing influence by these polatical conditions, deeply injuring 
the life of the people and the mind. : ee 

In the eighth decade of the 15 th century the influence of 
the ftalian Renaissance in Germany becomes perceptible and i 
indeed as elsewhere in the works of the minor arts, in wood 
engravings, on the backgrounds of paintings, on altars and 
tomos. Soon afterwards German mechanics, who had gone to It- 
aly in their wanderings, and Italian architects and stonecut- 
ters, who sousht employment on this side of the Alps, transf- 
erred the forms acquired in the south to the northern build- | 
ings. In the first quarter of the 16 th century already ori- 
Sinated certain works, in which the Renaissance motives main- 
tained their predominance over Late Gothic forms. After 1530 
the Renaissance increased its extend north of the Alps, beyo- 
nd the fhuringian forest and the Erz mountains. It exhibits 
from the besinnins onward a mixed variation and a certain in- 
clination to Barocco forms. The Gothic reminiscences contin- 
ued until in the beginning of the 17 th century. * 

* On the Peller house at Yuremberg (1605}, whose facade en- 
tirely oeiongs to the tate Renatssance and already shows Bar- 
occo tendencies, the entrance and the rooms in the ground st- 


ery are stili fumnished with splendid late Gothic vaults, and 


the parapets of the ceurt facades have tracery. 

In the Seneral view of German Renaissance architecture app- 
ears an expressed contrast between the southern and middle,a 
and the northern German provinces. On the one hand it is bas- 
ed on the diversity of the character of the people, on the o 
other on the inequality of the acceptance and influence of I 
Ftalian art. In the south, where mencwere particularbysrecap. 


A?/bive of new ideas by the commercial relations with Venice, 


eT ny 


is mottsiooza es Git pst Oi abouts bus chavesst 
seve, bas yulesl woot, yitocexkR-sonaadne basot bliow ms0t won 
i ~  beptet vyilsidoetedue ti dey .ytinga edi. jo doum deol si ti : 
\ ~nae2 {st109 onP .sokeestoxe oiveitis sds to taenimieteb edz si 
20h to Qnidasiqenais goostbh a ctdd nmese SES .829 of botuoee 
bevieoss: tivon edd duh , ioe nsiadewA Of viegl i9qan mo1k 2m i 
teosid .evetesn asiiet? mort vilsnoigasoxs vino aseivaoi edi | 
te siddin; bos m102 boosisen ybecuss as ak emeo yods ylexitne 
~bat) bas .noidgeonos niedésen odd lo sense ext ni ybsords ame 
oefeeS- asedtsoe bee slhbim mort dese asdfsme ond 10% vine bee 
aL svebasiisiteh edd mort aseate bsord « ac beotent stud ere 
om Seaiupet seit .eteiawoo oSeinzemoe' es sem caw SE eneRe dica 
Saidosl ven déton edt of srotesed?T .votsamietenesa v)8Sdsigt 
—oddseun ai doidw .somsesisash yluse ens .dévoxs Jo bostasa eds 
Yat dedd of selimie snemqolevsh s soos yeswie® eibbis bas ax 
“on edd: to. sonseeisne® virse sal .ebsaisediell sas bas souete 
woAgs ; | ebsedvensek oa¢ od ddgasvos sd teum dia 
~ $8afT modw booms .exsdesm svisan Instaoams sow sisw s19dT 
ond edd ,paudeaudA ni, siemdksol aaek wedguisg ent sysx Ilise to 
I sete" setqinos sxn01d ant bes .¢iee9 bus tapdeded of cacectok 
@ loveisdscud-dteq ond ae fernseqs ofn ,aysdeei1sh at rOeKoR EV 
‘ ~oif .ooneniini aseb s betioxe euoteueag bas soaseeians® end. 
yisueq .sav0o. fsixreqmi edd yo ylexeq bebis sisw excvesbas si 
-geqehai tisdd ai dsidw .setede toliswe ciseiiss to esontie ¥a 
to. aehaelee sds aseqive of bsehai bae iscps of raguoe sonsb 
~sn9h 14% as1sne0 sissies becolevsh ava? .isuoe Lsissamt ada 
“mixes 101sans ensmud odd io adupoo sda dotdw Yo #18 eon8eat 
edd: bus .usoneioe bas e624 add biswod beni Loni ifew oeili 
ov 1s sefosdedssaiW fo cenoa visoning seiueved one Ogiseie® 
P eoontsqeeds [exenoh mi ane net. toast ofs ai bsuoidnem ed hy 
atinant Iscitiiog bas exoitcior edd ddtw ob os coum oot bso ‘ 
wSoetidows basis sxiiees ins saobs. o¢ eida.ed of .9mid £04 To 
- aboyed. Sisni viivigos of selvout Seeisndin eiT .esebi Lean i 
“98 9videviS2n0o ons bedose1 boshni et1sd? \aaelo nesiaio saz 
~sownonmod yiid eid ai bogefevsh Cad Ti ve..yisoorse stom aga | 
tt ybsetis: eee fo nexitio efit 1evewoH Jebdiee sot ef bas dal F, 
| wimstreRaed: sd? emewevon ons ai sus@ dood scinorsed.ent mo. om 
2 ede # moireint wleoisos eon .efamexs 103 an RRR ARES ie 


OST Se vais oN ea 


254: 
Burgundy and Spain by the great mercantile associations, the 
new form world found entrance-@irectly from Italy, and even 
it it lost much of its purity, yet it substantially formed 
the determinant of the artistic expression. fhe portal repr- 
esented in Pigs. 332 seems like a direct transplanting of for- 
ms from upper Italy to Austrian soil. But the north received 
its icpulses only exceptionally from ftalian masters. Almost 
entirely they came in an already weakened form and with a st- 
amp already in the sense of the northern conception, and ind- 
eed only for the smaller part from middle and southern Gern-= - 
any, but instead in a broad stream from the Nétherlands. In 
both cases it was met as somethins complete, that required no 
further transformation. Therefore to the nerth was lacking 
the period of srowth, the early Renaissance, which in southe- 
rn and middle Germany took a development similar to that in 
France and the Netherlands. The eariy Renaissance of the no- 
rth must be sought in the Netherlands. “On 
There were some important native masters, anons whom first 
of all were the painter Hans Burgkmair in Augsburg, the two 
Holoeins in Augsburs and Basle, and the bronze sculptor Peter 
Viseher in Nurembers, who appeared as the path-breakers of t 
the Renaissance and therefore exerted a deep influence. Phe- 
ir endeavors were aided partly by the imperial court, partly 
by princes of certain smaller states, which in their indepen- 
dence sought to equal and indeed to surpass the splendor of 
the imperial court. TPhus developed certain centres #6r Rena- 
issance art, of which the courts of the humane emperor Maxin- 
ilian, well inclined toward the arts and sciences, and the 
Palatine and Bavarian princely house of Wittelsbacher are to 
be mentioned in the first rank. But in Sseneral the princes 
had too much to do with the religious and political tumults 
of the time, to be able to adopt and realize Srand arehitect- 
ural ideas. The mightiest impulse to activity in art lay in 
the citizen class. There indeed reacted the conservative se- 
nse more strongly, as it had developed in the city commonwea- 
lth and in the Suilds. dowever the citizen class already fr- 
{j£om the beginning took part in the movement. The Fugser fami- 
ly in Augsburg, for example, was scarcely inferior to the ci- 


a pe han i a ; » @ Oe 
a ts : ae iy raid J 4M ew 
ey aif oan me ie - iW q re 7 ie hay \) 
> ae Weed BAN ki Aes 
Pa eee ean J ‘- ; <- 4 os 
i . TE 2 
taf 1 


6 883 at Boo bdacitices to eesio 


eaakeunbaliiwesirees be QUAN ahh csareotstbean 
Palm we: Horsingoosy edd etimisa ynemaed sibbim bose oiedtrvox 


- _wifpoog)s ydertedn .esnemets miol wen edt Ytovnotsaobs: evieaors 


-sidip sud od sneéusace spaced tnemgoleveb sexnG 8 o¢ edasdd 12 
“damvesi: to ehete Sis osat bezeso Th OBBL toodd .snodxe bedi 
~"Bewoded ehaihlind nistiseo uo rSsel shepeh «6 yheoriA .vttas 
“2% suods ;Jnowoolsveh asisasi es to gainakesd aes Siditasouisa 
as-ai besessaxe ef si .ydfewnes eises0as aids biawne G8er mo 
moisfeoqmos séi ni enoisx0G01g 1e1x6eVer 10% Rnivirte olsebusas 
*.@t9dmem of¢ To taemise1s is1sq 8 tot bas .esbsost edd bas 
ni somok ofni: comodo sonuseeisneh neidest sax to sonenftani en? 
BOiwhot ,evetesminseddt0n sostYOURE omOe .saHesem’ bexsetONt 
*8qs9. s19n odw has wen! Suidton berettoe emio? sonseeians® ede 
Stovredzew odd exedt! yelesl: o¢ saow .enotsagonos sea968b %o oid 
“dered? .medt no noteesrami oesh 8s aban ofbelia® sasyvds sat 
feodoa neftbhslisS eft Yo sense odd nt exovecbne otd¢siseslo sad 

~{sttveds eonte: -.crntoesisiore nemi98 at evisoette emeosd cele 
-sbiovans can sé oocogsG oFat beeesa emis eins thode 15. nBt 
“wamt onsomsd hoorte s bevieoss wom nswue® sft oela tect .eld 
ai everse nem doidw tot ,too%tle add Yo kninesadisd oad? cobs 
“femonom 9n3 io nostevels VG ais! 2O-ezenaseTo (fy} dtiw yest 
Weiso; yo Spomntsise ot yaowiss a Sdbooe asw oleestqxs Ist 
~sb edd tuibsolrevo has sseneoiass eds vi ylisisoisisa .ensom 

} * Batased/ edt .eliesteb to Suisneves end .( 666 .af%) potasxoo 

seu snsppett eds .anoktato[s5 [sdosnsnto bis hstataiuoa to an 


: on Issnemenio sat to onisswiolenarty edt One scouodtes sas TO°4 


% | busta got Rattedsi e beebol .elyze ofeetie odd ofni asvit 
 « Wet B Jom ane :detaeb sd stones vasmie® ai Sostts {ss q9munon 
io 19d9e edo Letesek ods 308 .berteras oels aids eaw. ediow 
mf sdREL2 ystol edT © .wensd vd HogkwrTesSh gon ci bot eons 
"809 8 dtiw Bolsceiveq Byotuewied oft bos eeehs Leaedsoséitioss 
‘betsoLllse ton esr sebi oocote’ sii Yo eeuoe eds nt mis esotoe 
~~ etdd 00 bonteiaiem vedtet ¢1  .t76 aewigd to dooae Bidt 08 
i a eee Snihr00es sindsn exisne att edatd 
S WePneaven anh § «dhalt2 0 \ 0° © jeopedetanes 
 -etoeriors vadiaiiiativiaiens cnteiibibeives' Svea ow eodT ) 


iva i viaworeis .ynsm10® sfbhbime bas cisdsuoe to walk 


205 

class of territorial princes in the encouragement of art. 

Until the middle of the 16 th century the Renaissance ‘in 
southern and middle Germany permits the recognition ef a pro- 
gressive adeptionsof the new form elements, whereby a peculi- 
‘ar change to a purer development became apparent to but a lin- 
ited extent. About 1550 it passed into the stage of its mat- 
urity. Already a decade later on certain buildings becomes 
perceptidle toe besginnins of a further development; about fr- 
om 1580 onward this appears senerally. It is expressed in an 
enersetic striving for severer proportions in the composition 
and the facades, and for a purer treatment of the members. 
Phe influence of the ftalian Renaissance comes into force in 
increased measure. Some important northern masters, to whom 
the Renaissance forms offered nothins new, and who were capa- 
ble of deeper conceptions, went to Italy; there the works of 
the great Palladio made a deep impression on them. hereby 
the classistic endeavors in the sense of the Palladian school 
also became effective in German architecture. Since the Ital- 
ian art about this time passed into Barocco, %t was unavoida- 
ble, that also the German now received a strons Barocco impu- 
lse. Phe heightenins of the effect, for which men strove in 
Italy with full clearness of aim by elevation of the monumen- 
tal expression, was sought in Germany in attainment by other 
means, particularly by the enrichment and overloadins the de- 
coration (Fis. 333), the accenting of details, the heaping 
ub of sculptured and ornamental decorations, the frequent use 


292 of the cartouche and the transformation of the ornamental mo- 


tives into the sristle style. Indeed a laborins for grand 
monumental effect in Germany cannot be denied; on not a few 
works was this also attained. But the seneral character of 
thesperiod is not determined by them. The lofty flight in 
archisectural ideas and the harmonious perfection with a con- 
scious aim in the sense of the Barocco idea was not allotted 
to this epoch of German art. It rather maintained on this 
stage its entire nature according to the character of the 
Renaissance. be 
Thus we have to distinguish three epochs in the architect- 
ure of southern and middle Germany, the early Renaissance éf 


 teeoaseetsasa eds ies ‘asian ak teat? ous ensured dition. af 
-ataeo d¢ SE edt ito sibbim sat svode sueisqqs seviseueds sisu 
gevdeemeds wode bas esonivora soxsé sd¢ soxi soo ved? iva 


Seeds: tovo bebbs eovetise diiw elfode edt no yleridae teomia 


“®,eredesiiqg yd esidek to nolvivib edd of .eeidee sans to eqe 
emisped O862 ret th .zeotni00 euidosiora eeslet]ess edd no bas 
teygaemse® Lis revo sis. deibselisdse% to douse suortetoiv add 
ieenssd sorsnmes svisos sdt vi .sdunsd edt o¢ t9e98eW sit wont 
8 ot -botsées cele tend .ebaalisdsts! odd bus esiato sense ond 
celejet tI sbsisqesq ybaestis eew Lice edt .edouborg oitaidrs 
162 ysividos 1tieds bebustxe evteitis deihasiusdsel gens bavora 
Bteged ai yisaluotdasq .2oitio tesoo nistiso al .aeas edd od 
~s@ seocesasocs bebasdony bas tostih bowot tas aeibosiaedtell 
# dison sav yastuso ds Sf sds to tMea bacoer exidne odd date 
betatteco detdw ,ydivitos Suotde yvissexsxe as bsacloved aed 
“ol a1) .1eW *essey OF oft at stei Litau az VE sid otnt neve 
dentedai siz ot vilsiooges cela bus [enusdxs ait at bedeiae 


asmied dévou ni aadd asoudoii wsdse1k dove ni siwtosdidois. Y 


vo188 of bonifoni ylbnomse aninuiaed eid wort ybesris ear aud 
Woot yiosneo dt Sleds Yo duiuniked ofa aséw doidw ,ewiel of 
mseds10n Bothbseooue ent of eveR yond tent of  dasd r98edou sdt 
| ssweetdt ylnissaso j;1edos81sd0 onvoiss Jeomis us a2udoesidore 


eboireq owt yino bed yaewied désom ak soncesianeh sad sunt 
 suods Toroonsecianch dhid eas .bonoktaew ed-od<daswaolevsh Yo 
4  O6BEedo0ds of 00Sl\ te sonseciane® sted end bus GOSI-CGErI 

eoiseitesyosisio edd sonseeisesd newts) edd Yo sivda sas 21. 
 - equydass odd at eseniwo1g teou swoosd: 86S ssc a0 heaoisnsa 
“wnevedt/ to tasmyolqme: enuesxe yisisG bas benigadzes ofs d0i4 
~a9f; beaodeveb sad ot oats bas .(808 .e¢8) ‘enoleivibdss espid 
-xiw(ymmtneo dz SL sdteni> féenw) beunteaes Snol sas soneesis 
| Pasmemteg odd -reddawt bos .(cES 268 .eb25) ecivte to eae 
_ ritgepaoo 418 argdsyoareds bae seiistl-eds neewied sonsis TiO 


“2, dla ry eds te: bas sit ot nc wout soaseeianeh stad. 
Pies? Medi iveatrsi bed: Wages (aren) 


-BogHoD. eoootes bret ai boeesaqxe yileacizqsoxs yine xO ,ton | 
_ .fentetoceb edd ic eeentiogs bas elyse etd niviedier sud esontit 


eas .ex0ttstat to snoesnoee) MAeh: to xosd 9d) .en0: 


| wr bas ib Ttaees, Bis i” : nen ’ Rak ha 


i] 
} 
5 


B06 

about 4500-1550, the high Renaissance of 1550-1580, and the 
late Renaissance from 1580 to the end of the 30 years’ war. 
(1648). 

in north Germany the first influences of the Renaissance 
make themselves apparent about the middle of the 16 th centu- 
py. They come from the Saxon provinces and show themselves 
almest entirely en the shells with spheres added over the st- 
eps of the gables, in the division of gables by pilasters, a 
and on the tasteless projecting cornices. After 1550 began 
the victorious march of Netherlandish art over all Germany 
from the Weser to the Danube. By the active commerce between 
the Hansa cities and the Netherlands, that also rebated to a 
artistic products, the soil was already prepered. It is also 
proved that Netherlandish artists extended their activity far 
to the east. In certain coast cities, particularly in Danzig, 
Netherlandish art found direct and unchanged acceptance. Bu- 
rings the entire second half of the 16 th century the north t 
then developed an extremely strons activity, which continued. 
even inte the 17 th until late in the 30 years’ war. It flo- 
aorished in the external and also especially in the internal 


J/varchitecture in much greater richness than in south Germany, 


but was already from the beSinning strongly inclined to Barec- 
co forms, which with the deginning of the 17 th century took 
the upper band, so that they gave to the succeeding northern 
architecture an almost Barocco character; certainly this was 
not, or only exceptionally expressed in srand Barocco compos- 
itions, but rather in the style and richness of the decoration. 

Thus the Renaissance in north Germany had only two periods 
of development to be mentioned, the high Renaissance of about 
1550-1600 and the late Renaissance of 1600 to about 1650. 

In the style of the German Renaissance the characteristics 
mentioned on pase 269 pecome most prominent; in the early pe- 
riod the restrained and purely external employment of the an- 
tique subdivisions (fis. 308), and also in the developed Ren- 
aissance the long continued (until in the 17 th century) mix- 
ture of styles (Piss. 334, 335), and further the permanent 
difference between the Italian and the northera art coacepti- 
ons, the lack of Srand treatment of interiors, the picturesque 


ir ‘ oy ‘ j oo 
+4 ¥ wv ? J | 
ts , a 


j 


vw. § gi? o 


‘ “ere . ms es 
is ehay | 9 Ca 


tik ¢ A as i ie Cty Rd: | Ne 
| jah hy vi ge! ee . ea \ : a 
ee vt Sl 4 Ladi: ekeuns i eid to baiguorw 
B res, ote ipl eheeai aeete edd ,barbf{ind edd io adasc sti 
hve ‘emtolt bevavo asetoisase yd bexebioed saedd 40 -8eldse bea ae 
~in10o bas sietesdét .eamaios io saemsseas: se23 003 . {885 G85 | i 
“pedt) eomted bos esiogaue sidsisbned 20} soneasiexa sia ese | 
betaisq es iiew ase besetedpesr dvod bheebnt , {edosmsaxo dots 
—“e560%0 oft bné goissroosh Isaxetak ods oeiwextd .aotdésicesh 
“Hisonoo eisow ed t0o% .beciuoeeb yilvt ased ybsorlse sved se 
edt) 03. baitelex es xsi of .bebastui saw aottoustenoo snodte.be 
 —s-_ Sekginokdonssenco-noboow newzeD at ¢vS \ioaeoesivors: obsost 
-bepaisaoo.encisibers blo oft ¢i ol .énemyolams:enolses bavot . 
edd mot) nish tnsbowds boviush eidd oels se. .viteorss 10m 
“ateno0o io emedeve owl  .sonesesianef edgy to emact te, sugassat 
wdmis tisd eds bae dof sdd .bedeivgaiteib 8¢ yeu of ag AoiTou» ) 
é : AOLFOBITSNOD TE 
takes ntesouos at B0ibliod io benaine edd @i soisouisdeneo g0d 
A edd ni bus etoodeite saieds. .2qfd sas at Ydaelucizasa .anot 
“1% lo einuit to dlivd exe eliaw ont si ol .esesaet nsimedos 
—n00 sf . (686) ,22%) .1edso dess no bist exgdmis ower a0 e6s 
-o1@ bas alisisyob ys eoiweasa eliew tusestbsa sad séiw sottosa 
202s . becabétiacel cois oennes: Snowe yiev 8 sadd of .Bnoksoet 
es.iiew ee .sotdouisence sof yd basot.eew caw svieasixs seom 
~de bnsoissd? .eeesod sds go .ylleisnes noitontéanoo nshoow 
Snied aeqqu. odd .enoie to yileido ei. eseuod eniala& sid to YTO 
998 tae12 odd of .esinelise gaigeefouq ylebiw tiviw Boow ie 
eid bas efdsde edd beoslq anied is8et sit nit <8H00% antvid eds 
’ gnidoeto1g yfgnoste bne wol s yd betpvoc et elodw off .eberie 
- edoold dain hebsol wette bas cefanideasheow yd: betevoo . food 
e1sk eqs®d lisse ewobniv bas s100b eis asve celA .snote to 
- sIsddsen odd. yd yaviat wort noigesdoig si es beosiq yitnenoet? 
_ @~o80 wobein .eisdiog eid ao beyolqme yleaueqe gud ei tasusox8 
‘ .eineio Iseissxe edd ao eaivise odd hus eedye lis ,zerseot 
“edd Gort asitib yileisacees ton eeob seved seerc} Aosis sa? 
2 s90de wol s no een 31. .dn0ndse1d bas aefq ai eeuod ontala 
eidd t9v0.abiso0d ddim heddesds viote getvis 8 yrode bawor 
isin feaevoo oor beqaid yleise bas gnidestosq yishiw s anied 
~~ @insed of bene & se beew 2i ofdts od .(9EE .2i%) cwerte 


,.. 196% adi) Bed Senod. ont ioe oda aatvinby | 


e 


£gaction in it may be distinSuished, the los and the half timb- 


257 

grouping of the architectural masses, the accenting of defin- 
ite parts ef the building, the steep roofs with the high step- 
ped gables, or those bordered by capricious curved forms (Piss. 
335, 356), the free treatment ef columns, Bilasters and corni- 
Ges, the preference for candelabra supports and hermes, the 
rich ornamental , indeed both pscubptured as well as painted 
decoration. bikewise the internal decoration and the orname- 
nt have already been fully described. For the works concern- 
ed, stone construction was intended, so far as relating to the 
facade architecture. But in German wooden construction also 
found zealous employment. In it the old traditions continued 
more strongly. Yet also this derived abundant sain from the 
treasure of forms of the Renaissance. Two systems of constr- 


er construction. 

bes construction is the method of building in mountain res- 
ions, particularly in the Alps, their offshoots and in the 8 
Bohemian forests. In it the walls are built of trunks of tr- 
ees or hewn timbérs laid on each other. (Fig. 336). The con- 
nection with the adjacent walls results by dovetails and pro- 
jections, so that a very strons connection tssproduced: The 
most extensive use was found by los construction, as well as 
wooden construction senerally, on the houses. The ground st- 
ory of the Alpine houses is chiefly of stone, the upper being 
er wood with widely projecting galleries. In the front are 
the living rooms, in the rear beins placed the stable and the 
sheds. The whole is covered by a low and strongly projecting 
root, covered by wooden shingles and often loaded with blocks 
ef stone. Also over the doors and windows small caps were 
frequently placed as a protection from injury by the weather. 
@rnament is but sparsely employed on the portals, window enc- 


lesures, galleries and the carvings on the external planks. 


fae Black Forest mouse does not essentially differ from the - 
Alpine house in plan and treatment. It has on a low stone ¢ 
ground story a living story sheathed with boards, over this 
beins a widely projecting and partly hipped roof covered with 
straw. (Pis. 337). The attic is used as a shed. To permit 
driving into the attic, the house has its rear against a hill 


ue) iba Meds a . 
. qe wis iv aistcishgibaill Lavbbaanne leh Miuevave, bentiont nae 70 
aepheg ons bas eaGfh odd ni eraiiienbvezedT .bsiious yioaaia 
“89 ewobsic qeob edt yd aelts onpaciuseig yrov s coved seexo% 
“ed .eqso bone esitelish edt .loo1 sit to enodsostoig sid yo te 
hetesasia etidw Snitsessh odt evode beow dt to saos mise. ods 
v w ,Sasoebosi atetasom edt to nse1e desst odd mi sausourdadne 
“8008 3i . noidoutdeGOD edt to wilidstive sd¢ yo doidw déiw 
hue. | * (TEE .278) .qp awomk eved od ota 
Kintgauom As Yo siyia foxntoetidoris eAt benosinem sung sh * 
WSRSSSIORSH SA} Yo Hositowrntanoo sedmist Ylod sAd- Addu snoines 
“Sstinatedus sin aotinsoveb fo show bus noisowntence gt} sonts 
~itud guiseixs sil .sonnetinssh e435 (o seods yu banimissen yf 
Pi sSHtt Nediace ae wont stab mobiss oslo sanih 
“sae Jedd .ste00 atiw efisw edd esoniteaos atom sodmss Ifsk 
eve efeoq siT .evods eeteia ofnt benones sas. bas efiie ao ba 
eeoe1d) esedmist bontiont yd 10 etaig Issnoxtiod yd benetitise 
10 ddowdorid dtiv beLltt onted efensq aniaiemss sdzy {este 20 


a0 .edoise basotssSsqasiw bos yilo diiw bexim waste idiw oala “" 


9 yilfetones abne bstaemant0o seodn .emsed sav tas1 estelq ods 
~asqqn' eds to fife sit ased bus eosi tewol eds buoyed Jsostowd 
iofdw ,eeisode eds to Sniliedieo edd besenigiao sonskh .yr0te 
Seibned sds Sessevesq af elidw .es@niasvbs Laoisade bebioite 
besestoni' bessimseq eciwsdil tH yeilew snort ads to bisnsu0 
-eivid eldsative « »xebsaost edt of evad bas s0fsetak odeé to sen 
~aso0s eeos{o sid fa ,awobsde qoesb Rakteso esisod¢e asewdea coi 
-tidows onifisoes .moitonaseaos enete nt esotaaoo blod vd bea 
bas abs® msed eds a0. °.eoto10d Isdaoorsdt: yd eevisom Laintos 
odd 80 .edaog oibbtm eas neve bans teMm100 one .elesaoe .esteiq 
q ,tnengolaus ovicnedxe Haves esanaotone: bas. essasiag wobnin 
_ do glinietesdoyver af eovitom Io saneseud enpigas oid yisdisa 
; _-nemento ods yiixuec .caiistem end o¢ bedine emt06et nsboow betas 

eOtesini ni eldspied? .(SEE .2t8) pewksoens to asdois fad 
witeiant looi eds evods betestorg aesto: aneitgouatdenoo snode to 
-Rer $dir ef notsoustenoOod ashoow nsmxs® ddaom on? -smTtot be 


' elenaa bas eredmid odf .a8ddo dose. Y9vO yideotéusy see 918 
 nebfeb sl. .(86& .p£%) .noitssnowento evisexoosh doit & eved 


Ty eee ee Bee he | eT hee 


Sas bedeqgs yinsoling yiseom sis eteoqg off. .batooexe yfaeie . 


ane efeort Weerhonatasnog: ofF): $NAME. dives ni ersver 


PS 


258 
or an inclined driveway. Decorative ornament is but very spa- 
ringly applied. These dweliings in the Alps and the Black F 
forest have a very picturesque effeét by the deep shadows ca- 


St by the prejections of the reof, the galleries and Gaps, by 


the warm tone of the wood above the dazzling white plastered 
substructure in the fresh Sreen of the mountain landscape, w 
with which by the suitability of the construction , it appe-. 
ars to have grown ap. (Pig. 337). * . 

* He have mentioned the architectural style of the mountain 
regtons with the half timber coustruction of the Renaissance, 
since tts oonstruction and mode af decoration are substantial- 
Ly determined oy those of the Renaissance. The existing buti- 
dings also seldom date from an earlier time. 

Half timber work constructs the walls with posts, that sta- 
nd on sills and are tenoned into plates above. The posts are 
stiffened by horizontal girts or by inclined timbers (braces 
or ties), the remaining panels bein’ filled with brickwork ‘or 


fo, also with straw mixed with clay and wrappedsaround sticks. On 


the plates rest the beams, whose ornamented ends generally » 
project beyond the lower face and bear the sill of the upper 
Story. Hence originated the corbellings of the stories, which 
afforded statical advantages, while it prevented the bending 
outward of the front walls; it likewise permitted increased 
use of Bhe interior and gave to the facades a suitable divis- 
ion between stories casting deep shadows, at the places accen- 
ted by bold cornices in stone construction, recalling archit- 
ectural motives by the corbel cornice. On the beam ends and 
plates, portals, the corner and even the middle posts, on the 
window parapets and enclosures cound extensive employment, p 
partly the antique treasure of motives in veryrtastefully ch- 
anged wooden forms suited to the material, partly the ornamen- 
tal riches of the time. (Fig, 338). The gable in imitation 

of stone construction often projected above the root in surv- 
ed forms. @he north German wooden construction is quite res- 
ularly executed. The posts are mostly uniformly spaced and 
are set vertically over each other. The timbers and panels 
have a rich decorative ornamentation. (Fis, 338). It is less 
severe in south Germany. The posts are very freely spaced a 


ere nae tp di tn: ey, iY re ivi wes 
.ee0inn09 2 ij [ Manthsounett DP iidiewi chase mod. odd ua 
Dene 4 OLS a20095 e1ttas edt - .gottostbowm eest eved asboow eat 
“-da9upe1l, sis dotdw .ests Yo enitesor9. bas. Saiviso eis of betia i 
edt yLeo ofat # e& ..enaetisq del[t Yo a1ot edt at bagaeias oi 
«ss 80 218 ewxobatw bagwe100d to esageolome. eds bas efsoa teax09 "1 
789 te6d .2010sOUIse. 19dmis Tied -spetdemts omee $4. .botnoRs 
aetio ystioilamfe aftedd at ,sidsw& at tasmaqedsveb deid s bados 
fieve yitmeupext bas 2098 nistis0 8 mt ba81% .dootte as aved 
Aah em Sud js * .istoensaon 
giioossestaa het oest ygbhossdo sha HolsosstsHoo tadmss Ylow * 
Bl) (.boineg yisos ofmomse? sit af seu8 dan saqn sibbim ons wi 
“shots 83% sonnsstoasi of3 Yo emit sAt mh bandmasa 32 yoomsed 
=S3mi didw doum o3 bsdsow foidw .pooexok dt sSunemqoleush ts 
VO Qnitooos oft tebns tpaqqnstb of 44 bswosla .sinixsion eusteo 


ml. * sQniastenia 
MO bise ove ow tedw .giitow (sissostidors edt ot biexes of 
véoedtdor1s asiuose sedso bas eusetedo sit ao S388 oF S\S soREG | 
-tidois dowd dassaetord bas oilodtéD sdt no es [iow es .21e ~~ 4 
Saotxe stiiae aif at sxutostidois asaied of esilqas ,santos | 
~ast2-otudossidois vseisdo,soussaisusd agate) saz at satwoArd (| 

do ot as lion ba yeeisdo af sonte 08 .dayorssd0t eds at eb 
; bas ,nsifstl dtiw botanists sistesm evitsa siatostidoxe dow 
- emis ofttoeae odd ~isnimobstgq yftaevpsitat ton assd0eL ats . 
sa9f aisiob Istetoeatidots osiatied 6 te asttirsiliuvosg sdt bas rut 
Tei ego1gxe eanibited osevixaq bas gdio edT .assgas yintsiq =| 
oF settasos eft lo 19fosisdo eds sueeteds odt agit s16Mm — ie 
; -avneuonol tustzoqal taoM oa? .4 | . 
reetans’ Anmish oA Lo sinsaunom odd Yo sortorisbienos sad * 
POSITS Hayolgms yiswetusia sit sd tuo YUNS Jonn2e swe somo hy 
| BIWDDO SOngssionsd odd ssuooss aomqoieueb Yo ebotise sat to - 


© et - 
= = 


PHV4SL Led MONT SH99HOIG aeini sos anMTEB eMs 0s Ylaolugodnd K 
/ -. S490 oslo slygts 43 Lo tuenqoleush betta oat bao .etatos + i 
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| TMS UDR Se Tadd, o8 LeumdHitad oft Yorsatnsggiedt os yatttoqen =| + 


SUADLUG. chiduq Behorsis .suDet oho 94% Odixoesd Yisutsese AP 
 « PAUTOSTIMONO O43 Lo GedG Iovaneg edd (Losm sanuisuNts staging 
Caktoareee ‘QAPoI 9099 aetaitsves pomp fagt i er te 


259 

and the beam ends ere often concealed by wooden cornices. #F 
The wooden have less projection. The entire decoration is li- 
mited to the curving and crossing of ties, which are frequent- 
iy érranged in the form of flat patterns. ‘As a rule only the 
corner posts and the enclosures of doors end windows are orn- 
amented. At some time these half timber structures, thet re- 
ached & high development in Swabia, in their simplicity often 
have an effect, grand in @ certain sense and freauently even 
monumental. * oh: 

* salf timber construction was already treated artistically 
tn the middle ages and even in the Germanic early period, In 
Germany it attained in the time of tke Renaissance its rtehe- 
et development. The Barocco, which werked so much with imit- 
ative materials, allowed it to disappear under the coating of 
plostering. 

In regard to the architectural works, whet we have said on 
pages £2°7 to 282 on the chateaus and other secular architect— 
ure, as well as on the Catholic and Protestant church archit- 
ecture, applies to German architecture in its entire extent. 
bikewise in the German Renaissance,chatesu architecture stan- 
ds in the foreground. But since in chateau as well as in ch- 
urch architecture native masters alternated. with Italian, and 
the latter not infrequently predominate, the specific German 
and the peculiarities of a definite architectural domain less 
plainly appear, The city and private buildings express far 
more than the chateaus the character of the country. *. 

B. The Most Important Monuments. 

* Fhe consideration cf the menuments of the German Renaiss-. 
ance we connot carry out tn the previously employed sequence 
of tke pertods of development, because the Renaissance. occurs 
irregularly in the German countries, proceeds from aifferent 
potnts, and the unified development of the style also lacks 
like architectural periods and regions. By an arrangement a. 
accordimg to the species of the buildings, so that we may suc- 
cesstvely describe the chateaus, churches, public buildings, 
bprivete structures ete., the general view ef the architeetur- 
al activity in the different countries according to thetr ki- 
nds and importance, which we have to emphasize, would be ent- 


noe we awatenee Mose as steod) glonttag 


> chien fesrene SHO QST Lorstost iow Storogss sAis ot gatos 
¢ “Sotense BAS YO Howhg ss AoSAG .SoHeNHes SAt Lorensy Ad QUIN 
SS Yk bso yroned AS SonosstonsA adi Yo tHemasisush {Yo sexisos 
4 heh ° +285 ons da9t Ingiongag B43 Yo sononimobarg ss 
 .29bsoeta yasm1e® désos amtol sonsasisaef to nottgods add al 
-siq tatki odt at ebaste bigdetcA to vito L[atorsmmon dota sfF 
<fiai tesifiss off .scineV déiw oftteit botemins sti x9 35 
-$3q. bad evietesm tasticqmi omo8 .s468 watteasV¥ mort smeo asons 
‘ai $6322 yIsv .shswidsie8 acsd Soloow sre? .fioe sais boasa 
meifsst edt exatiatag etd at betidtdus odw .(LE8L-6°42) ans0t 
hotasa sav to otvatistosiedo savtan to aoftqsones sett odd at 
,008f s1r0ted vissI af easisdgob deshnk eew .sonseatsaga’ 3adt to 
‘TD egatwsib bas eBaitnisa aid ai emtot won edt beouboutat dae 
‘oiw ,19¢e6m aemied taxi? sat tok eesq nso 6G satyoboow 10% 


Mi bediaow mid sbhfas8 .slvte won sdtoeF aottiansiat sd¢ bsdis 


tudds) atedfod as6lo Set({s eilsnsoolletat edt eease suse aad 
Ww Gsapdoettdow te1it od¢ Sossatateo If3t sgoda +. (aSet-9aLt 
-2 289m Legsdo s9280% oft .yasmi193S ot sonseartsasa 943 to A10¥ 
~setensa yirse asitensVi919q at Sqed at tI .gisdegsA at sand 
*abeteezt ti bos .si Sutteveo atlusy toa odd mort sbias .99o06 
* Pat beaters .evugnorstd «steam 6 vd betoeqs nesd svsd ot 8 
-deguA dtroteoasa?T .sdiaeV at beyodame vilsottos1q bas visst 
/ siene8 siz lo taioa gutstisse bas otdn90 tasiiias edd asw 848 
| Gf ylisido Soirs9:90 te1it cotatetze atl” .znsmie9 at eonse 
“oF bas pestis ao yfisqtoutitd besbak:-.etis s0eatm afi to ettow 
’ eam 

noe aad er dliieetetle Dihieat edt afedio® eneh gigdasa4d noid 
dv Sf edd ai ybssals efes8 of tasw (benotd nem sant sao sat Lo 
 eidsdosq’ bas (enite0nd of t9Te1i BIs9y seas petit 2id to Is9¥ 
 asiwibonwees 64 od eh tf sesef 54 .ylasT asqqll o¢ s19dd moxt 
© -ef ett 19st .n6LiM bas) omoO besiety od sade .ysaissieo eaoe 
~dw ,somseeisng’ sds Yo evitssaesciqes euolsex s esi sh ated 
-itne dtiw ti betsara ed to8 . boosterebay yiiet sa siatas se0 
bisser af 1sfostsdo nemis) visiitas as) sb) eves bas mobsaxt 3% 
| -“bheb evotomuan etd wi es aids ai eetwedtg .xottasaemeate oF 
aS cling neetiela bas snhapnabies pedsustiot an 


i 
¢ 


269 
entirely lost. Therefore we shall consider the monuments ae- 
cording to the separate architectural regions, thereby retai- 
ning in general the sequence, which is given by the general 
course of development of the Renaissance in Germany and by t. 
the predominance of the principal tendencies, 3 
In the adoption of Renaissance forms south Germany precedes. 
The rich commercial city of Augsburg stands in the first pla- 
ce. By its animated traffic with Venice, the earliest influ- 
ences came from Venetian art. Some important masters had pre- 
pared the soil. There worked Hans Burskmair, very sifted in 
forms (1473-1531), who exhibited in his paintings the realism 
in the free conception of nature characteristic of the period 
of the Renaissance, wes indeed doubtless in Italy before 1500, 
and introduced the new forms in his paintings and drawings f 
for woodcuts. He can pass for the first German master, who 
{¢aided the transition toothe new style. Beside him worked. in. 
the same sense the intellectually allied elder Holbein (about 
1460-1524). About 1511 originated the first architectural w 
work of the Renaissance in Germany, the Pugser chapel near S. 
Anna in Augsburg. It is kept in pure Venetian early Renaiss- 
ance, aside from the net vaults covering it, and it ¢@ssassamn- 
ed to have been erected by a master Hieronymus, trained in I ~ 
Italy and practically empbhoyéd in Venite. Thenceforth Augsb- 
urg was the earliest centre and starting point of the Renais— 
Sance in Germany. Its extension first occurred chiefly in 
works of the minor arts, indeed principally on altars and te- 
mbOS. 
From Augsburg Hans Holbein the Younger (1497-1543), the son 
of the one just mentioned, went to Basle already in the 18 th 
yeer of his life, three years later to Lucerne, and probably 
from there @o Upper Ttaly. At least it is to be assumed with 
some certainty, that he visited Some and Milan. After his re- 
turn, be was @ zealous representative of the Renaissance, wh- 
osé spirit he fully understood. But he treated it with enti- 
re freedom and gave it an entirely German character in regard 
to ornamentation. Likewise in this as in his numerous desis- 
ns Tor facades, decorations and the art industries, the sreat 
painter showed himself a talented master in treatment of form, 


4 
eA 
* vi 


‘ he? v ren as i a pom 
re: ee | alt) ie 


ry, Acie 
{ » 


n aera 
se eS os * 
# 


‘: cor | hu tanows ii beh pet. or asris®! ditenor 
= 


ei seetiases odd botanigito eeidatds odd ui tert% 


7. = dbineved: oid smtg tads al .sonstaogmt to exaow Leasdoea 


a (POtB .yitvitos isassoesidors oviewstxs sieds beoneumoo 2s 


_ —wpereD yd botos19 sen Judebusd te asatea feyor sds ShSl-SERr 


edd\ yd asw dhsfas{A edt biswot aaiw edt  eqedeas uvatfetl bas 
‘bag: (destin bisdaisd bas z9dietseds9 euslootd eastesa asad 

@ odd ociweitd ..soussetens® aamied viaes edy ak task asw ti 
ed? of egnoied eammicos sidiam sdt déiw elwdttesv sitl-estrrog 
~iw| divoo) bebsois.aos sacione ekaiw s9edde serie edt .afyde ut 
Ajsetesa, s to dbsef odd tsba9 tliad oxen bas eamwfop nixed as 
882) to Loodne oat to svitstaeeotges s .cutas¥ most iffsnorah 
~feYiey) 218 emoot eit, osis tod tines edt ylersm go .tisdota 


sdf .sno19V ai sove ,foitsusbieaes sixzem bisow bus, ewvbesszomr. 


vadueds bovieset h10dabasd issa stinaves? to oliase (sveatban 


Spt) botsers \yignie dsinw antblind ariiess baiisoece edz O3at 


tiweg edt Lo, esisote toGgm ond odd at neue ebtw to esbaons 
- Isgteaiaq edt to actts10985 satredaé tasoitinasa etf .ebts 
rifensq, (886 »Ri%); eoypeeto1g to e¢kaitnica to! atetense yiote 
“ptsdca1sds astiatI beaeotgxe de ai eRatlies ie aauot das ade 
~'bas SVGI meowtod yiseow .19d381. bewollor sotsgooxs afedd swS 
eAGiSat ai; . OBGE 


-thom9vom won ‘oats ai dasq xoot aiedaeagl Ae yfevetsxsqmod 


“Se) bedoaet»aaslo aesitio sd¢ to sausoetsidows sevod add sion? 
9euod edt Yo asia ed? .éavngelsved aalewog yivas fue tou Be 


a fers, 9bsq) yosm1s® déwee. at conmoo eiisitsmes squ¢ eds awovt lod 
-99%80bas tied Snteogmt sud .sisost 16 atbtw fisme eved yads 


~s8ivtotste bis ewabaim sd betaemeqto ydbkbaseta? .a229 yis¥ 
-29bs0at»betesis ylqmie yrev sd¢ to atuaq tetao sdt w1ok veld 


_ vbue,e0nseetsaed dotdw no .geds018 yd bozolons oxs. atzvo0o ot 
Se UN bas Bnimisdo s ai ben tga 896 Bevidom isvoslosa 


edt mes tom .olaes mo1t yew t9ddaet att woot ovals sone |) |. 
then 1 7) oo’ Bets toate ed¢ to aottsibem saz yd emts — 


paint erin tepsothet maiiiese 20 .2ennee 


‘. ~ 
=< ‘ as a> - a - ~ 
a. 


261 
te which Germen art can scarcely show a second. The Reneiss- 


‘9? ance also took its further way from Basle, yet for the next 


fag 


Sy 


time by the mediation ef the minor arts. 

First in the thirties originated the earliest Vasgen ae 
tectural works of importance. In that time the Bavarian duk- 
es commenced their extensive architectural activity. Prom 
1536-1543 the royal pelace at Landshut was erected by German - 
end Italian masters. The wing toward the Altstadt was by the 
German masters Nicolaus Ueberreiter and Bernhard Zwitzel, and 
it was kept in the early German Renaissance. Likewise the p 
porticorlike vestibule with the marble columns belongs to th- 
is style. The three other wings enclose an arcaded court wi- 
th Deric columns and were Duilt under the lead of a master A 
Antonelli from Mantua, a representative ef the school of San- 
micheli. Not merely the court but also the rooms are very i 
impressive,and would merit consideration, even in Verona. The 
mediaeval castle of Travusnitz near Landsberg received about 
1550 the so-called Italian building with simply treated pier 
arcades of wide span in the: two upper stories of the court 
side. The magnificent interior decoration of the principal. - 
story consists of paintings of grotesques (Fig. 339), paneli- 
ngs and forms of ceilings in an expressed Italian character. 
But their execution followed leter, mostly between 1576 and 
1580. 

Comparatively carly Nuremberg took part in the new movement. 
There the house architecture of the citizen class reached sr- 
eater and truly popular development. The plan of the house 
follows the type senerally common in south Cermany (pase .279); 
they have small width eof facade, but imposing heisht and are 


very deep. Splendidly ornamented bay windows and stately se- 


bles form the chief parts of the very simply treated facades. 
The courts are enclosed by arcades, on which Renaissance and 
mediaeval motives are coubined in a charming and harmonious 
manner. On the Cloth Hall ‘ediaeval and Renaissance motives - 
are belanced; the windows recall the French early Renaissance. 
The Hirschvogel house of the same time is famous for its mag- 
nificent garden hail, designed in 1534 by Peter FiBtner alre- 
ady in mature and noble Renaissance forms. The exterior has 


| “4 5 Sol j il f iy o. a ; ae | ip ne : rr re 
 antawor pa se a te seabes yl bi ithenoke: VIeV's 
fevers 2 yd bsbs0e1q) a590 evsi oF svéeae agi2sa edd iaotntes 
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202 
@ very pleasing subdivision into stories and a bold crowning 
cornice; the design appears to have been preceded by studies — 
in upper Italy. On the much later four story Topler house 
(1590-1597), the keynote is still siven by the mediaeval for- 
ms on bay windows, on the window forms and the gable. (Fis. 
340). The Renaissance obtained a complete victory on the ve- 
ry famous facade of the Peller house (1205), but both in the 
details as well as in the Seneral effect, Barocco ideas alre- 
ady notably appear. (Piss 341; also page 290). On the city 
hall, begun 11 years later, all reminieeénces of the middle 
ages have disappeared. The elongated facade (Fis. 342) reje- 
ected columns and pilasters, but obtained a sreat effect of t 
the powerful treatment of the portals and the window enclosu- 
res. The arcades in the two upper stories of the court have 
é subdivision by pilasters. The master, Jacob Wolff the You- 
nger, had made studies in Italy, probably in Genoa. 

A similar and purely citizens’ art tendency, even if in sm- 
aller proportions, is found in the neighboring Rothenburg-o-T, 
There the marketplace with the stately city hall. affords an 
entirely charming view of an old German city. The city ball 
wes built in 1572 by a nurembers master, the elder Jacob Wol- 
fi, father of the one previously mentioned. The long facade 
is broken by an octagonal stairway tower and before it is pl- 
aced a rusticated arcede portico with a balcony. fhe isolat- 
ed angle is accented by a hish towerAlike bay window. The ar- 
chitecture of the portico and of the portal in the gable end 
exhibits a certainty in handling Rensissance forms, scarcely 
fourd at that time in German masters. 

In Munich about the end of the 16 th century, Friedrich Sus- 
tris and Peter Gandid were engaged, who had been trained in 
Vasari’s school and represented the Italian Renaissance in t 
the Netherlandish conception. They proved themselves import- 
ant artists, who dominated the forms with sovereign mastery, 
and powerfully influenced their contemporaries. Their first 
important work is the church of 3. Michael (1583-4597), a pl- 
an with a single aisle (Fis. 343) with transverse aisle and 
&@ long choir ending in polygonal shape, with three relatively 
small side chapels terminating in semicircular form, above t 


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263. 

3?/ them being galleries, without a dome, but with a very happy 
introduction of the light. The walls have double pilasters 
and & high attic; the tunnel vault is treated as a coffered 
stucce ceiling. The whole is nobly handled in the proportio- 
ns and doderately decorated, and in its seneral effect is a 
grand internal creation. The design was by Sustris, althou- 
gh this cannot be proved without objections. Peter Candid 
passes for the architect of the impressive wings enclosing 
the Kaiser court of the royal palace, erected in 1611-1619 
for Maximilian I. The exterior is plainly treated; the beau- 

jozbiful and rich portals of the year 1614 (Fig, 344) on the ot- 
herwise undivided western facade permit the recognition of a 
strong initluence of the Italian Renaissance. In the interior 
the stairway design and the rooms of the principal story, by 
the grand and harmonious proportions and tbe noble treatment 
of the details, have a distinguished effect and a select and 
a truly princely magnificence. The Renaissance perhaps has 
in Germany no second work of equally perfect treatment. to be 
mentioned. 

Meantime Augsburg had entered into the times of the high a 
and late periods. In the year 1570 Jacob Fugger had called 
the Venetian Antonio Ponzano with other Italians to Augsburg. 
and had a series of rooms in his palace decorated entirely 
in Italian style. * But the sreatest work of Augsburs archit- 
ecture was completed in the late period by a native master 
Elias Hell (1573-1646), the important city architect. Alrea- 
Gy in the 17 th year of his life, he came to Italy in his wan- 
der years, and a few years later he builteif his native city 
the arsenal, that with its three story, richly treated facade 

2ogGrowned by @ gable,already exhibits e complete mastery and s 
shows an entirely free creation with e visible influence of 
Palladian art. His chief work, the city hall (1614-1620) has 
@ severely symmetrical plan. In the Sround story a central 
three aisled hall extending the entire length of the building 
has about @ third part of its width. Prom it on the transve- 
rse exis to the right and letf, stairways lead in two branch- 
es to the upper story, and indeed to the “Golden Hall” extend- 
ing through three steries and lecated ever the lower hall. In 


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264: 
the angles lie the “princes’ chambers”. The treatmentbtis exi- 
remely magnificent and stately. Holl gave to his native city 
a grand appearance. Even his city gates exhibit a noble tre- 
atment, splendidly appropriate to their purpose. 

* The same master was atso later (about 1586) employed on 
the adntiquarium at Munich and the grotterpertice of the royal 
palace. 

In Swabia is to be mentioned a very early monument of the 
transition from Gothic to Renaissance, the octagonal spire of 
S. Kilrain at Heilbronn, erected in 15138-1529 by Hans Schwei- 
ner of Weinsburg. (Figs. 345). From 1579 to 1582 the old Got- 
hic city ball there was rebuilt. Its longer side is turned 
toward the marketplace, and has a hish flight of steps treat- 
6d as an arched portico, and a grouped dormer gable above the 
main cornice at the middle. (Pig.-823). To the early Renais- 
Sance also belong further extensive new buildings added after 
1557 to the castle at Tibingen, whose principal wing contains 
@ great hall extended by a large balcony structure. The ponm- 
pous and already strongly Barocco front portal building dates 
trom the beginning of the 15 th century. In Stuttsart the o 
old cheteau was erected after 1553, leaving an older wins of 
the building. As architect is mentioned Aberlin Tretsch. On 
the exterior by the earnest and undivided architectural mass- 
ses and the strong round towers it still bears the character 
of a castle. The court of the chateeu is surrounded by three 
Story arthede porticos, whose segmental arches are supported 
by very freely treated columns. (Pig. 321). Particular inte- 
rest for the history of architecture is presented by the plan 
of the chapel as a narrow rectansular ball, which is extended 


/e4en one of the two longer sides by a polygonal bay niche. (Pa- 


ge 281 and Fig. 324), This chapel is the earliest church bu- 
iiding on German soil, whose plan is exclusively designed for 
the requirements of Protestant divine service. *%A masterpie- 
ce of a rare kind, that strikingly indicates the increasing 
enjoyment of a more eheerful course of life in the age of the 
Renaissance, was the summer house (lustheus) erected for duke 
bouis in 1575-1590 by bis architect George Beer near the chat- 
eau, end which unfortunately was torn down in 1846. It had 


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a rectangular plan, an open arcade portico extending around 
it externally, interrupted at the angles by small and elegant 
round towers, and at the middle of the main facade by a high 
flight of steps, above which was a portico-like projection c. 
crowned by a gable (Pig. 346), and stately gables on the side 
iaceces. The ground story contained a great promenade hall 
leading around great water basins, above it being a similar 
festal hall. For the works on the summer house under Beer, 
Heinrich Schickhardt (1558-1634) had also participated, who 
afterwards exerted a great activity in Wurtemberg as ducal c 
court ercbitect. He in Italy had measured and drawn buildin- 
gs by Palladio and Genoese paleces. It was allotted to him 
to not only build anew chateaus, churches, schools end the 
like, but also entire cities. (To him are attributed 12 cha- 
teaus, 17 churches and a great number of public and private 
buildings). He designed the plan of Freudenstadt in Swabia 


(for the Protestants expelled from Austria, and erected there 


the church (1601-1608) according to a very original ground 
plan, when he arranged two wings of the building adjoining at 
@ right angle, one of which was assigned to the men and the 
ether to the women. His chief work was the magnificent Neuve 
Bau (new building) in Stuttgart, later destroyed by fire. 

* The chapel of the chateau of Torgau dedicated by Luther 
tm 1544 is indeed of earlier date, but in its ground plan as 
a@ rpeetangular hell with galleries placed around it and betwe- 
en the outtresses of the vaulting, wes based on the external 
conditions of the building ef the chateau. 

Of the half timber construction, which rose to high perfec- 


ticn in Swabia, nearly every city possesses splendid examples. 


Among the monuments on the upper Rhine is the chancery buil- 
ding at Gonstance (1592), worthy of consideration for its pic- 
turesque court furnished with arched porticos of wide span b 
between round towers. In Basle the pleasing facade of the 
goldsmiths” Suild hall (Geltenzunft) (1578) arranged in three 
orders suggests the study of the writings of Serlio. (Pig. 
347). On the somewhat later Spieshof (1600) is employed the. 
triple window motive of Palladic. Italian influences also a. 
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266 

fresco paintings in which the painter (Uhristian Vacksterffen 
from Golmar) in the year 1552 imitated rusticated ashlar work 
in the lower story and an architecture of columns and niches 
in the upper one. In Strasburg Daniel Specklin (1536-1589), 
a much traveled fortification architect, designed about 1585 
the facade of the old city hall as an entirely regular pian 
with pilaster subdivision in the stories graduated in height. 
The portal and pilaster architecture approximates the Italian 
form treatment; the general appearence, particularly the tre- 
atment of the windows and the roof, bears the architectural 
character of southwest Germany. The Frauen (women’s) house 
erected on the Minster place in 1581 belongs to the most not- 
able half timber works in southern Germany. The internal tr- 
eatment of certain rooms (Pis, 348) allows the recognition of 
the predominence of an architectural spirit with the aim of 

@ grand and comprehensive use of the architectural members in 
favor of a unified effect. The chateau at Baden, begun in 1 
1589 by Caspar Weinhart, is. noteworthy, in that in the arran- 
gement of the ground plan care is already thoroughly taken f 
for convenience, when the rooms sre connected with a corridor 
extending through the middle of the building. On the someha- 


oo,at later chateau Gotteseu near Carlsruhe (1588-1594) with ro- 


und towers covered by domes, built by a Strasburg master, Pa- 
ul Maurer, Frencn influences made themselves felt by the med- 
ietion of theomargrave Ernst Friedrich. (Fis, 349). In Heid- 
elbers the Holise zim Ritter (of the knight), built in 1592 by 
Charles Belier, merits consideration on account of its rich 
facade, characterized by celonnedes and two bay windows. The 
principal work of south German, and of the German Reneissance 
in general, is the Srand chateau romantically enthroned above 
the city. It consists of several buildings grcuped around en 
irregular court approximating a square in its general form, 
and thet date from different times. The towers on the bills- 
ide, certain lines ef walls and parts of the structures still 
belong to the 15 th century. The earliest pbwilding dating f 
from the Renaissance period is the “Glass Hall Building”, er- 
-ected about 1550 by Jacob Heidern. 6f the former facade only 
about a half with the lossias extending through three stories 


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jp» the composition is entirely independent and entirely of Ger-. 


267 

now remains; but even this small portion is an extremely pic- 
turesque part ef the interesting court of the chateau. In 
the years 1556-1563 was erected the Otto-Heinrich building, 
adjoining at a right angle. The famous facade is built in t 
three stories above 4 high base. It has a well considered 
subdivision by Ionic rusticated pilasters in the lower story. 
(above which is a Doric trisglyph frieze), Gorinthian pilaste- 
rs in the second and Gorinthian columns in the third story. 
(Pig. 350). The influence of the Italian Reneissance cannot. 
be denied, and particularly of the writings of Serlio. Yet 


man cherecter. The master is not to be named with certainty. 
It is assumed that the design was by an otherwise unknown ar- 
tist, the Netherlandish sculptur Anthony. Another Netherland- 
ish master, Alexander Colins, took part in the execution, who 
is to be regarded as &@ successor of Anthony. From 1601-1607 
beside the hall ouilding was erected the imposing and very @ 
monumental Friedrich buildings by the Strasburg master Hans 
Schoch. Hor the faeades (Fig. 351) the master adopted the 
System of the Otto Heinrich building, yet developed them with 
a ireer and substantially maturer treatment ef form. With 
the energetic accenting of the structural framework, luxuria- 
nt rolled work and cartouche ornament, as well as the rich f 
figure decoration designed by Sebastian G8tz from Chur, is 
cembined into a harmonious whole of rare worth. We have in 
the two facades of the Friedrich buildings an extremely inter- 
esting and powerful expression of the German art spirit. 

In German Switzerland the close relations with Italy were 
elso effective in architecture. But the German conception 
sives the keynote in the plan and the treatment of the facade 
as well as in the stone construction. In Lucerne Giovanni & 
Lingo erected after 1557 the Ritter’s palace (now government 
building) with beautiful portico court. The city hall. there. 
was begun in 1601 and adheres more closely to northern art. 
Zurich has some interesting guild houses. bikewise in artis- 
tic dwellings meriting consideration, Switzerland has a large 
number to exhibit. Yet it lacks the larger chateaus. The 
Stockalper palace in Bries (upper Wallis) of 1611-1617 consi- 
sts or two tall and massive structures connected by a lossia 


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268 

and an arcaded court protected by three defiant square towers, 
but it Can more properly pass as a private house erransed in 
the srand style. 


30? In Austria the prevailing northern art character, by the v 


vicinity of Italy and by the mixture of races already imcian- 
ed in conception to the southern art feeling in plan and form 
treatment, experienced a refining, which is particularly to 
be recognized in the endeavor for clarity and simplicity with 
dignified and carefully weished treatment of details. In the 
southwest provinces and especially in the Tyrol is commonly 
found the motive of open arcades (“pergolas”) derived from t. 
the antique, which surround the marketplaces and are frecuent- 
ly continued along both sides of the adjoining streets. Tn 
the late Renaissance there, es well as in southern Bavaria, 
occurs the horizontal termination of the facades instead of 
the high Sable. On the other hand the preference for the bay 
windew, mostly beginning at the Sround and extending through 
all the upper stories, preserves the German character. Among 
the Tyroiese nobles® seats the restorations and new structur- é 
es at chateau Ambras (efter 1563) take a prominent place, end 
were erected by the archduke Ferdinand for his wife, Philipp- 
ine Welser. Phe facades are adorned by architectural and fi- 
sure representations, partly in ssgraffito end partly painted 
in fresco. Besides other splendidly treated rooms, the inte- 
rior contains the great Spanish hali 141.1 =x 32.8 ft. (Pigs. 
352) with very tasteful architectural enclosures around the - 
windows and the portraits of Tyrelese princes and a rich woo- 
Gen celling. The externally tasteless chateau of Velthurns 
near Brixen (1577-1586) contains in its prince’s apartments 
ipternel decorations, particularly door enclosures, wall pan- 
elings and wooden ceilings, that belong to the best works of 
the Renaissance. In Salzburg the bishop’s palace was besun 
in 1592 and was built in an expressed Italian style, and like- 
wise the cathedral (1614-1634), in which Sentine Solari from 
Como, & pupil of Seamozzi, employed the sround form of S. Pe- 
ter’s in a free manner. The capital of the Steiermark, Graz, 
has in the Country hous (jandhaus) a noble building of the 
year 1560 (Fis. 353) kept in the severe forms of the Italian 


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high Renaissance. In the archduchy of Austria between 1530 


and 1600 extensive new buildings were erected on the Schali- 
aburg near MB1lk with a beautiful arcade court, where each two 
upper openings correspond to one opening in the lower story. 
The columns are of marble, and the rich relief eccessories of. 
the upper gallery are Bostly of terra cotta. There are inde- 
ed expressed here influences of the upper Itelian style of 
architecture, as on the arcade court of the chateau ef Rosen- 
burg near Eggendorf (after 1593), in which the splendid stat- 
ues are likewise made of terra cotta. At the court of Ferdi- 
nand at Prague already from the thirties ef the 16 th century, 
an Italian artist colony was in the service of the monarch. 
The summer house of Belvedere on the Hradschin was built by 
Paolo della Stella, and it is a rectangular structure surrou- 
nded by an airy arched portice on slender Ionic columns, that 
recalls the basilica at Vicenza. Scamozzi was also employed 
in Prague. The stairway of the Hofburg is attributed to him. 
fhe noble Sarden portico of palace Wallenstein (1629), openi- 
ng by three arches on doubled columns, admits the suggestion 
ef Genoese models. As architect Giovanni Marini is generally 
named. JI might cencur in the assumption of Gurlitt, who de- 
clares it to be a work of Bartolommeo Bianco (page 234). The. 
mausoleum of archduke Ferdinand II, erected 1614-1622, is a 
genuine product of the early Italian Barocco style. Into 
Eungary the Renaissance quite early found entrance under the. 
favor of king Matthias Gorvinus (1458-1490), who is to be co- 
unted among the Sreatest admirers of the Italian Renaissance. 
(fo the influence of Hungary seems to be due the early penet- 
ration ef Renaissance forms into Silesia). Besides the Sieb- 
enburs chateau of Kronstadt and some noteworthy chateaus of 


°/o the nobles, the Renaissance produced important citizens” hou- 


S€S with court arcades in several cities, particularly in Kes- 
mark, heutschaneand S$. Georgenburs. 

In middle Germany, Saxony and Silesia take precedence. The- 
re comparatively early a true architecturel: school was devel- 
oped, which received its impulses manifestly from the bombard 
Renaissance, especially from that tendency which proceeded f 
from the Certosa near Pavia, and is chiefly characterized in 


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270 
the rich ornamental work in the pilaster panels, on the archi- 
velts, friezges and arch spandrels, as well es in figure deco- 
ration by statues, busts and heeds in medailions. The monun- 
ents adhere closely in part to the Italian principles of con- 
position; in part they retain the late Gothic basai lines as 
well as many details (particularly the curtain arches in the 
windows; pase 96), and they employ the Renaissance forms for . 
portals, bay windows and gables. To the latter kind belongs. 
the George building of the palace et Dresden (after 1530), b 
built by Hans Schickentanz, from which still remains the rich 
George gate (the forger portel on the Blbe side). (Pigs, 354).* 
fhe main structure of the pabace was erected after 1547 by 
Caspar Voigt of Wierandt. Qn it were also employed Italian 
workmen. Of the design of that time is now preserved scarce- 
ly more than the impressive court with the stately stairway 
towers and the open portico in the middle of the north side.. 
With the more important works of the Saxonpearly Renaissance. 
is counted the eastern wing of castle Hartenfels near Torgau, 
built by Gonrad Krebs in 15338-1535. Before the court facade 
is placed a flight of steps and a stairway tower, in which a 
boldly constructed and splendidly treated winding stairway, 
recalls much of thet of the chateau at Blois, and leads to t- 
the upper story. (Page 304¥*). The real bhowpiece of Sexon=. 


‘// Zilesian parly Renaissance is the portal building of the Pias- 


ten chateau at Brieg (Fis. 355), dating from 1552. Italian 
artists worked on this. 8ut from its entire composition the 
design is to be ascribed to a German master. That likewise 
the private architecture in this domain zealously participa-. 
tea in the development of the Renaissance may be seen by the. 
numerous and in great part very beautiful portals, which have 
remained from the splendid building period of the Saxon and 
Silesian countries. About 1560 commenced for them also the 
high Renaissance, and thenceferth they yielded preeminence to 
western and northern Sermany. 

* Doupere the George gate mith the pertal ef the eathedral. 
at @omo represented by Fig. 912. 
 # * See page 304.* 

In Franconia After 1554: originated the Plassenburg beilt by 
margrave George Friedrich of Brandenburg, a regular plan witb 


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four towers. fhe so-calied “beautiful court” is surrounded 


by very richly ornamented pier arcades in two stories above 

an undivided or rusticated story. Schweinfurt has in its ci- 
ty hell, erected in 1570 by Julius Hofmann from Halle, an ea- 
rnest and well subdivided building, which is worthy to stand 
beside the best works of its kind. The bishops’ cities in 
general are centres of great activity in art. In Warzburs + 
the powerful and architecture-loving prince bishop Julius Beh- 
ter of Mespelbrunn had the university built in 1588-1591- by 
the architect H. Kahl as an impressive design, grouped around 
& nearly squar€=court, on whose southern side stands the uni- 
versity church. This is a three aisled building with gailer- 
ies arranged aiter the style of the chateau chapels. Before 
the pliers are placed three-cuarter columns in the well known 
sequence. Amoné the Wirzburk houses of the Renaissance peri- 
od, there merits consideration the picturesque Sandhof, that 
originated about i616, the residence of the old patrician fa- 
mily of Sandhof (Fig, 356). The grandest work of the Francon- 


ian late Renaissance is the chateau at Aschaffenburs, erected 


by the Sthasburg master Georse Riedinger in 1605-1614 for ar- 
chbishop Johann Schweikard. It has a symmetrical ground plan, 


‘indeed produced under French influences, consisting ef four 


wings enclosing a square court, with four massive square tow- 
ers at the external angles and four smeller stairway towers 
at the ansSles of the court. An older tower was included in 
the rear wing. The facades have merely a horizontal division 
by bold cornices. The window enclosures elready permit the 
regognition of strong Barocco tendencies. The building hes 
an imposing monumental effect. In Mentz the south wing of t. 
the prince elector’s palace, besun in 1627, has a very clear 
subdivision by three correctly arranged pilaster orders. The 
decorations on the lower third ef the shafts and the ether r 
rich ornamental accessories have the character of the German 
rolied work. The architectural details and partiéularly the 


window forms were manifestly influenced by French models. On. 


the lower Rhine, where the country shows so much similarity 
to the Netherlends in regard to climatic and living conditi-. 
ens, and where also en active commerce with them had commen- 


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272 

commenced at a very early time, the architecture is in close 
connection with the Netherlands. We find here as there chie- 
fly narrow houses, mostly with three windows and stepped gab- 
les. The magnificent portico of the city hall at Gologne 
(1569-1571) was indded by a native master, Wilhelm Vernicke 
(Vernickel), put as its creator himself admits, it was desis- 
ned not without the influence of the Belgian school. . The pr- 
eud structure is arranged in very noble proportions and is d 
distinguished by columns (Fig. 357); it opens in five arches - 
on ihe facade and two at the side; it bas strikingly pure and 


‘Shtirely Italian early Renaissance forms. The Jesuit church 


at Cologne (1618-1622), probably under the influence of the 
cathedral, is still chiefly arranged in Gothic as a basilica 
With slender round pillers and galleries. The net vaults re- 
St on Sraceful corbels. The architectural details have the 
character of the late Renaissance, the ornament that of the 
gristle style, of which it presents one of the earliest exan- 
ples. in Désseldorf the church of 8. Andreas was built in 
1622-1629 as a three aisled hall church and nichly decorated. 
North Germany hes an architectural region in the internal 
northwest provinces (in the countrycof!Mdaster, Hanover, Brun- 
swick, Halberstadt, Hildesheim and Hameln), in which the cit- 
izens’ art was very richly developed, both in stone as well 
as in wooden construction. The impulses come from the Neth- 
erlands in relation to the arrangement of the sround plan 
(pase 279) and the architecture; still the structures exhibit 
& strong individwality. Here belongs the Rat-catéher’s house 
(Rattenfanger) at Hameln with a high and fancifully pordered 
gable and luxurbenteornamentation, consisting of decorated 
ashlars, frequently in chessboard patterns. In Minster the 
buildings on the architecturally very interesting marketplace 
mostly have galleries. On the best Renaissance work there, 
The Stadtwein (city wine)) house (about 1615), they are omitt- 
ed. The Krameramts (merchants’ office) house adheres elosely 
to the Netherlandish Renaissance. In Hanover the stately be- 
ibnitz house (1652) strives for a severe organism with regsul- 
ar distribution of the axes. The rich bay window rises from 
the ground and is a show piece ef the Renaissance. In Bruns- 
wick on the beautiful Gloth (gewand) house (1590) by Magnus 


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Klinge and Balzer Kirchner, the antique forms with a surprisi- 

ng feeling for rhythmic proportions is applied to the low st- 

ories of the mediaeval structure. A choice show piece of th- 

3/#is kind is the house in the Hohestrasse at Minden (Fig. 358), 

distinguished by the richness of its columns. In Paderborn 
the quite symmetrically arranged city hall (after 1612) has 
two projections from the main gable end at both angles over 
open arches with a continuous series of windows in the upper 
story and ornamental galleries. In Mtinden the dry and bold 
facade of the city hall (1605) has a predominating Netherlan- 
dish architecture on the three gables set side by side, but 
otherwise an entirely German character. In Wolfenbtttel Paul: 
Franke (1538-1615), an important end freely creating artist, 
built the beautiful church of S. Maria (after 1608, first con- 
pleted in 1660), which exhibits grand proportions as a three 
aisled hall church of imposing internal effect. The details 
oi the Sables arranged beside each other above the side aisi- 
es are already given up to a wild gristle style (Pig. 359). 
His university at Helmstadt (near Brunswick; 1592-1597) is a. 
rectangular building of two high stories, staircase tower, h 
hish gables above the narrow facades and three dormer gables - 
over each longer side, in strong composition and rich treatm- 
ent. Also the Gity church at Bickeburs (1615), as whose are- 
bitect is named Adriaen de Vries, contains an imposing three 
eisled hail interior, covered by cross vaults on Gomposite 
columns (fis. 360), with well weighed and expressive decorat- 
ion. The facade goes strongly into Barocco and lacks the ch- 
aracter of @ church. 

In the north German lowlands and the coast provinces Bremen 
occupies a separate position. To the old city hall there La- 
der von Bentheim (after 1609) gave a new facade, before which 
is an arcade portico on Tuscan columns extending the entire 
width, and a projection rising majestically over its centre, 

3/S"erowned by @ stately sable, flanked by two receding dormer § 
Sables. The whole exhibits a strong Renaissance architecture 
with rich sculptured and ornamental decoration, already pass- 
ing into Barocco. bhikewise the interior, particularly the s 
stairs, the corridor in the upper story and the halls are hap- 
pily composed and splendidly decorated. On the narrow and h 


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high Essig house, built about 1618, much of the clarity and 
ornamental effect is lost by the lavish overlaid and rolled 
ernament dryly and obtrusively spread over alli surfaces of 
the facade. (Fis. 361). The city hall at Emden (1574-1576) 
in the extreme northwest by Marten Arens of Delft was erect- - 
ed entirely in the Netherlandish style. At bi&beck the Gothic 
city hall received in 1570 an arched portico with upper story 
and gable placed before the facade, in the year 1594 on the 
east side a very rich and nobly treated flight of steps, and. 
in 1586 an already somewhat dryer bay window. The form treat- 
ment indeed accepted Netherlandish influences but still reta- 
ined a certain individuality. From L#oeck spread about the 
middle of the 16 th century a peculiar terra cotta architect- 
ure. Portal and window enclosures, horizontal and inclined 
friezes, figure medallions, also bases, capitals and cornices 
were made of terra cotta. The predominatins style is that i 
of the Netherlandish Sarly:Renatssance. The basis of. the or- 
nament is formed by broad, dry acanthus leaves and the trefo- 
il with stem, whose point is cut out in semicirculer form. 
mhe chief domain of this architecture is Mecklenburg, and the 
principal building is the “Furstenhof” (prince’s court) at W 
Wismar (1553-1554). The broadly developed facade with the r. 
richly enclosed triple windows is subdivided by two high par- 
apet figure friezes and on the court side elso by pilasters 
in the two upper stories. The entire conception, that produ- 
ces such a quiet monumental effect, as well as the details of 
the architectural treatment, also especially the portals (Pis.- 
362), permit the assumption of influences from upver Italy. 
The Sreet chateau of Glstrow in Mecklenburg, built in 1558-1. 
1565 by Franciscus Parr, by its grand plan of pavilions, tow- 


J(i,and gables recalls the chateaus of the French Renaissance. 


In Berlin Casper Theiss, a pupil of the architect of the cha- 
teau of Torgau, built the electoral palace (after 1538), of 

which but few remains exist. To the city hall. at Posen Batt- 
ista di Quadro in the years 1550-1552 added a noble three st- 
ory facade,opening in continuous logsiss, to the structure c 

commenced in Gothic. An entire series of important buildings 
as shown by Danzis. They adhere closely to the Netherlandish 


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py a “dasmasd 8 
~io19Ke dasaaed (886r) rsalo0 to soiaw beL{{so-0a edt xsd3A 
Ataeaed to anodgaid asivenibass? seid ode 1SVo yOsusigne bss 


MB. teixdd. 1sbas agdowe sevo aidd taol sud s¥swioll bas asbewe 


z sizemn90 mori tisast bsext ylotttoe meds doidw .(88at-s0an) TI 


09 Isazesxe od saud 10 tag bas aoiistat adt ak atiumus tasfor¥ 
j odd ai .nobewe dgiw atsw to eases yd a ig .anoitsoita 
emacleveb tabasqsbat has gett eda bere) d yaugnso ds 8 
| t909 & evetd est to mbte1 anol ode t9ba8 i1sma98 to 
Bi apponrée [ssoiten 8  bezx9900 (8h3t-8ean) NI asisscad® ssi = 


Ce 


> Nol) Aan 


275 

art and chiefly bave Netherlandish masters as their orisinat- 
ors. The most important monument is the arsenal, designed in 
1600 by Anton van Obpbergen from Mechlin, and substantially ec 
completed in 1604. It is a rectangular two story structure 
with sendstone construction at the portals, the windew enclo- 
sures and the eapriciously curved gables (Pig. 363). What 
wealth was at command here is evident, since partial gilding 
was applied to the cut stones. In the later works alto appe- 
ars the classical tendency of the Netherlandish Renaissance, 

Likewise tn adjacent Poland the Renaissance had already fo- 
und entrance to the splendor-loving royal court of the Jagel- 
lons at the besinnins of the 15 th century, and had been fav- 
ered by the family relations of the princely house with Italy: 
splendid works were produced, whose execution was almost exc- 
lusively under the charge of Italians. The dagelion chapel 
at the cathedral of Gracow &@s perhaps the most magnificent 
work of the Italian Renaissance north ef the Alps. 

In Germany the architectural activity alse continued during 
the first half of the thirty years’' war until about 1630. 0 
Only in the second part of this occurred those misereble con- 
ditions, which had an unegualed national weakness and poverty 
as a result, and the artistic energies of the citizen class, 
that took the lead in art during the age of the Renaissance, 
and had developed such varied and luxuriant prosperity, were 

entirely crippled. After the war a new period in architectu- 
J/) re alse commenced in Germany,as well as in the other arts; 

then began the supremacy of the international Barocco style, - 

chiefly supported by the endeavors of absolute princes. — 


~~ 


3. Denmark. 

After the so-called union of Colmar (1397), Denmark exerci- 
sed supremacy over the three Scandinavian kingdoms of Denmark, 
Sweden end Norway, but lost this over Sweden under Christien 
If (1503-1523), which then entirely freed itself from Denmark. 
Violent tumults in the interior and unfortunate external com- 
plications, especially by means of wars with Sweden, in the 
16 th century hindered the free and independent development 
of Denmark. Under the long reign of its brave and energetic. 
king Ghristian IV. (4596-1648) occurred a national advance, w 


ay paaboanthet ‘battoved ode sobaw yrteengs aidd yistaeo at VE 
\ ot at tert? 308 .teoivp [sottilog Ragusecags yilssds1a srt 
“3s ean 9080q to boiseqg s9ks0f « (96NE 193t6) yaasneo da Bt 
Staslvsixks to eottosia edt yd doidw ab .yasnwos eds of bonds 
Bia \Speoeaemmmasiperaas beagolsvee tf ,aeasdoetaasm bas so19mm09 


saaisa . 


aew 31 .otal elécedeuinest 41smasG@ besesgnes sousaetaned sal 


at/eew totel ud .asoaeuLing asmi9D mo ylieido boasd tarit ss. 


ceobat deidw .die deidasiseddell aogu souebaeqeb erste taomls 
ods to nottsfiism ent yd yitisa .betsiaseneq visosiib @isa ni 
-iveisd) aid Saivol-ta1s sdé a9bal .ebaal sesoo asm1929 Ataong 


“istosisio teonsm 6 ait beqoleveb sf{yde sousagiansd odt VI as’ 
‘esaii bastk edd betaobs SI .ysiisubivibat detasG s4¢ aatst 


“1sd081e0) .gsw awo ett si botvow tad .datbasfaisdseKk sat Yo 


ieaudoetidors edt te 3ntquot® inolisoxes as ait ¢i 10% otter 


-) weoteftvibiss L[siudceditdois beegesxgss tsadwomes 6 dtiw asezem 
peat eteh bas esvivow sonseaisaea viass to aoitaqobs edit bas 
edi at i0t .aotsaiebiasos wo esiism soase2isaea detasd sd? 
oe atiw egseqisg leuusoetidow aieds tao eantid Fi aix0]¥ 
; -toiazasiaxs wselo yirel 
1890 St0dne01k to ssedsdo odsv ai dsow sagcaoaai: seit sak 

tests déiw eiptonite ssidas oviazem 8, (G8alna0ar) saarelok 
ddiw ,d1009 e1supe 6 dnwo1s Seayed&’ .asoxtive ilew bobiytbay 


* -dott .2cotilem qd febdivid anobaiw earsi ylevissisa tad wot. 


ouf .asids® bevawo ylevorotiges bas zosiar0o Yoor wol bas | 
Saoddiw saso yas af bas ,nsmie) ylesexqxs ef sdnomdsext at0t 


dastiogmi saom od? .efebom deibasiaedsell o¢ eoasisdbs sosyib 
~teiad) yd betos1e .hiededoinsbe74 to sgotado sit et tagnuace 
Yo besosanom 2onalat sesrdt so aert s1. (@S8L-So8t ai VI ast 
| © dado0et0% fanissxe odd eatstaoo doidm o gerit ods .easbixd 
© faves towel ont bnooes oft eantblind gaiasodeavod oa3 usin 
~at Ourds odd 09 .getmtourte JnomaISveR yIode ows ys daxasii 


~o9 od? (286 , 249) .aabte setdd m0: 1oMed to tis0e sit eeolo 
_  sdt) yd mofeaeraqui avotnomtsa 6ae 3nteoqmt as as¥se ngineb Jag 
_«-Wawabsee-Iisme sdt \rewOs ts012 947 .emottzoqo1g bedgtew LLow 


“ae dofdw ,ehifw seqads to beaoqaoo gakbifad @isw odd esti Sasi 


cs ‘eet odd) 10 sootsi10g sbhso%s yiote owe asao ont yd. Jex9Wod ©) 


7 


8 
ve 


ey) 


oe 
eed , a 


278 

which was also expressed in art. In the second half of the 
17 th century this continued under the favoring influence of . 
the sSradually appeerins political auiet. But first in the 

18 th century (efter 1730) a longer period of peace was ass- 
igned to the country, in which by the practice of agriculture, 
commerce and manufactures, it developed into comférteend well- 
being. 

fre Renaissance entered Denmark comparatively late. It was 

at first based chiefly on Cerman influences, but later was in 
almost entire dependence upon Netherlandish art, which indeed 
in part directly penetrated, partly by the mediation of the 
nerth German coast lands. Under the art-lovins king Ghristi- 
fan IV, the Renaissance style developed in a manner character- 
izing the Danish individuality. It adopted the grand lines 
of the Netherlandish, but worked in its own way. CG@haracter- . 
istic for it is an excellent grouping of the architectural. 
Masses with a somewhat repressed architectural: subdivision 
and the adoptien ef early Renaissance motives and decorations. 
fhe Danish Renaissance merits our consideration; for in its 
works it brings out their architectural purpose with particu- 
larly ciear expression. 

. Tbe first important work is the chateau of Kronbors near 
Helsing6r (1574+-1585),a massive ashlar structure with great 
undivided wall surfaces, grouped around a square court, with 
few but relatively large windows divided by mullions, rach 
and lew root cornices and capriciously curved gables. fhe | 
form treatment is expressly German, and in any case without © 
direct edherence to Netherlandish models. The most important 
monument is the chateau of Fredericksborg, erected by Christ- 
ian IV in 1602-1625}; It lies on three islands connected by 
bridges, the first of which contains the external forecourt 
with the housekeeping buildings, the second the lower court 
flanked by two story sovernment structures. On the third is- 
land lies the main building composed of three wings, which en- 
close she court ef honor on three sides. (Fis. 364). The co- 
art design makes an impesing and harmonious impression by the 
well weighed proportions, the great tower, the small stairway 

j/j towers, by the open two story arcade porticos on the rear wing, 


ears 


rod gums en 


ks wt ae a7 


oe Ddecic binds ‘ai amooy aeito edt esbiess .(838 .278) .eantos. 
- gdidasettiogen ots feqsdo oct busied tetse2 ods vlaeLacteasa 
8+ .e9asestsaed a1edt1og sisdem odd to olyte edt at bolbusd 
-widpedd tedt beavees et 31 .awontew at wgiasb edt to t0¢s540 
. @ edt aoivoers oft al .easebi isead sag beisteus? tieewid on 
~baaliedsei edt yfdsdo1q oais bus ledaiwasese nov ened tsaavuory 
tedueno? + ).d100 Wood .2isasG at bovolqwe nsgredd9 nev cots 19. 

‘telisue yidaisbianos aft sivte omee add at dbatoers eer soda 

Bi ie(6S3i-O162) aseedaeaoh ai siodaseod to vassedo wolf sud 
“G09SL: \.aztaob ati dtiw Woeatd Ssiesd vitooit’ VI asisetaad 


_ 4 me eefdsk bus ewobainw yed dtiu kaiw 1slogmascer 8 Yo etait : 
oudtasbiaveis t¢ .wewod yswiiste Isacayiog {leas s .adae sia 


svisesm 6 bus .(366 .2i9) edsoat oft ao azowot sieves isbaede 
Jofastat ed? sebie sa9e1 oid Yo slbbiw ode ax t9NOs featontyg 
~1stenq « betrdidze ayewis Quid ot dotdw tot .gatoliad e437 to 
~sbeknedo dowm eaw tstel tud .baqqgtnoe yvidatiolmwos 2a .ooae 
nsgedinegod ak (e210) sgaedox8 sit abnotet seis sane ode oF 
‘~ fedabwaset® nov eneh yi rodtsd saz 3s botoers .(Ol8L t3ste) 
& 8 dvtw abtiiveo yrosve owt betstnols as at st .ishaso¥ eat 
bas alstsoq ovisestqet .aswiod yo sheost siz to oofeivibdus 
“O39 .3001 943 To onilivo bevsuine ne 648 Yoort edi co saldea 
Wedd) bas obsosl aisw eds Qnols deeezeddey toor sda vd baowd 
-s%b auot to mot edt ai 19¥ed ott Yo sxtges beqad2 yilutrsbaow 
beth elisateixo soirsasi sat -WdseQo7 detaiut alters ‘anog 


mo adtood eise bekasita sien totdw anole srohitro9 aqol ions. 


—s Gwos od¢ 2i Loxainasaré to dion Siegen JeowmeiT  .aebie atod 
| -— déod-evtessrqmt .( 182) soliieco! to feabeisco ois 33 (eaesdo 
| “Soetth, eswetutosrtiase doris of .yilsatstac bos yilenusdxe. 
_ ~stedf “etutostinow osstado ens to efiyse eds dosrstansas yt 
y | -stdser0. otasiz0 begofeved qitaciie as weqas yissom yeas atol 
- mabse1t bine aadder s to soiazst0mk eft stem ysdt ogla peas 
af “satoesidors douvio defaced to Arow letdo sd® ‘soidtoD oat mort 

~aiad® yd asksdnegod yt VEOI ai dsbag0k torsno votatsT ode et 
| ‘s/deoytss Wiswiesaé aud qvesd vitsaresxe os ag sI .VI asia 
; ees GRE thee semen tans 
_ wil oe LTR abate ict ke t0f1stnt ett tevO Let ivew 
ath wee ao. et aa meh 


ENE nae ese 


i 


Sana lie 7 am "as Te ead . 
ai a ’ vee. *%. 


Ss eno tadared aid yd baw 
si nde: hadi & tididzue dane 94¢ bas glestoa sfiT 


as 


aT? 
and by the harmonious treatment of the whole and the details. 
The portals and the arcades exhibit a rich and strong archit- 
ecture. (Big. 385). Besides the other rooms in the interior, 
particularly the Ritter halland the chapel are magnificently 
handled in the style of the mature northern Renaissance. The 
creator of the design is unknown. It is assumed that the ki- 
ne bimself furnished the basal ideas. In the erection the y 
younger Hans von Steenwinkel and also probably the Netherland- 
er Anton van Obbergen, employed in Danzis,took part. Somewhat 
later was erected in the same style the considerably smaller 
but lofty chateau of Rosenborg in fopenhagen (1610-1623). ¢€ 
Ghristian IV directly busied himself with its design. It con- 
sists of. a rectangular wins with bay windows and Sables on t 
the ends, a small polygonal stairway tower, at the sides two 
slender square towers on the facade (Fis. 366), and a massive 
principal tower in the middle of the rear side. The interior 
of the building, for which the king always exhibited a prefer- 
ence, wes comfortably equipped, but later was much changed. 
To the same time belongs the Exchange (Bourse) in Copenhagen. 
(after 1619), erected at the harbor by Hans von Steenwinkel 
the Younger. It is an elongated two story pavilion with a s 
subdivision of the facade by hermes, impressive portals and 
gables on the front and on animated outline of the roof, pro- 
duced by the roof gableseset slong the main facade and the w 
wonderiully shaped spire of the tower in the form of four dra- 
gons’”' tails twisted together. Phe interior orisinally had 
two long corridors along which were arranged sele booths on 
both sides. The most mature work of Steenwinkel is the tomb 
chapel at the cathedral of Roeskilde (1617), impressive both 


2eeexternally and internally. To church architecture was direct- 


ly transferred the style of the chateau architecture. ‘fhere- 
fore they mostly appear as slightly developed organic creati- 
ens; also they make the impression of a4 rather timid freedom 

from the Gothic. The chief work of Danish church architectue 
is the Trinity church, founded in 1637 iy Copenhagen by Chris- 
tian IV. It is an externally heavy but internally earyest a 

and grand hall. buildings with still entirely Gothic ceiling v - 
vaults. Over the interior of the church is found a great li- 


“elied yisadi{ 
shader dawons obtw jamsx {e>0iedrpatbnsoss eldesa0imco » 836 
‘98 to edtow edt Room) ® .eser0d qwo0l déin egeiaiso 8 aw ev 
~fso-on ods yd aswss af coelq taxi edd sistostidows ‘anexitio 
ebindieds yd Sf6tent sfind .nodeiagmeDat “oauod sedeved” bed 
~ides ows dtiw sintomite yiote se1ds «8 et dT iaseaeS sesesmuo 
-Seab tqed ,obsost sekaol odd 1svo t9edto dose sbiaed Rateata es 
-195) to esoneoeiaimes spoddiw com toy .olyte defbasdredteu sds 
wind oi  *.3teus@ ai fensats sda to ylasfvotrreq: .to8 asm 
“Wisshsd5 .S4utostitdono Aoiudo Asdna® Yo Sinomsnom eds of *- 
ad ~roieioageaneabaia te Aowsdo gdsasaxT odd sonoied oatim .gnidoess 
. (888 .Qd9 +388 soed) 
-a8 ‘san dewol foi yisdneo dz YI edd to olbbtm oat a9etis acok 
~~ -velgse oo9e188 off of soneesianea deiasG edt te sotttaas 
"easeyiodd [ftne dasaned of besian beatswer 3ads wvawiok al 
' bas susubgasi ai Ausaaed 0 Snsbasdeb esw omid ekdd buns ,d1eL 
“@ stemenefisiocos yiemira ed? <tis at as {few es sintssadcd 
~tdo notvouiseaoo oviessa edd Yo bsetge asisxyt s tot aaidaaw 
"sstea°s\ ch “ledasestsnef od¢ 108 moitershienos at aaimoo vite 
sbasamoo te asm ison o¢ stivottizb otraes2 y{terdo .enose far 
odd to notgem salleme edi of hotimt{ eew exoiad io gatiew of 
ons od bagyed beonsvbhs yleousoe yvewio: ylsaacpsaaon .divog 
efadhq ods dtiw qu waik tsdd .saudOedidows asboow svissn suet 
% Beousslint s1sd3 oeis soneseisaeh sat beebal .fios sdé aco 
-atvte8 Jefteteb Latasusuto edt bas  Asvowomsxt Lexiutovise ads 


bewarnn ¢4 » ',betesoibar'ed sonaso asuomsaon sass10g 


rs saedews 7s 

7 ‘bas Atemaed tort sousbaogebat ett to mortexsiosb edt dciW 

owe (6881) sesV suvssew® yd iscoiten odd. %o soktexoresa oad 
“8 di 03 Sdboord dofdw .soasvbs Sesosqxens we no beietas ash 

, eres veds bas .asottsa nseqoiss anome aotsigog Iussiogmi yisv 


- gesToed?. tem ‘arsey ytaids odd at (SE6f-£fe)) eadolodA euvs 
VIX of18 atosesoove odsibomui eid bas, sas¥ euveian® -- bois, 
~ed od eeviosnods bowode (SCL beib) IT. agadob bas (885f-08er) 
seb Leoisivoa edd 10% dagoitiagen o2 ~~) tae to enorssq euolses 
a 3 sdairo} eldstovet yilstosaes ean ,mobgaty edt to saemqoLey 
ne. ods Aha unonaa mei oe to ‘Satdaissolt 


oe a hs LS ah» ’ ‘ rer 


’ di casks isk tans Isotmonossas 10% estades aew arottsia— 


ebenO lovneiseqtotdieg ode yd 1eW0g 3setR giedtzo0 s to ooned | 


ai 
J j 


278 
library hall. The remarkable round tower terminating in ap | 
platform was intended for astronomical. observations (it anrebe- 
des a comfortable ascending helical ramp, wide enough to dri- 
ve up a carriage with four horses. * Amons the works of the 
citizens’ architecture the first place is taken by the so-cal- 
led “Byvekes house” in Sopenmhasgen, built in 1616 by the burg- 
omaster Hansen. It is a three story structure with two gabl- 
6s rising beside each other over the longer facade, kept in 
the Netherlandish style, yet not without reminiscences of Ger- 
man art, particulerly of the arsenal in Danzig. 

* Fo the monuments of Danish ehurceh architecture, strictly 
speaking, also belongs the Trinity church at Kristtianstad.f 
(#age 324; Rig. 369). 

Soon aiter the middle of the 17 th century followed the tr- 
ansition of the Danish Renaissance to the Barocco style. 

In Norway, that remained united to Denmark until the year 
1814, and this time was dependent on Denmark in language and 
literature as well as in art. The primary conditions were w 
wanting for a further spread of the massive construction chi- 
efly coming in consideration Bor the Renaissance. As a natu- 
ral stone, chiefly gzaanite difficult to work was at command; 
the making of bricks was limited to the smaller region of the 
south. gonsequently Norway scarcely advanced beyond the anc- 
ient native wooden architecture, that srew up with the pebple 
on the soil. Indeed the Renaissance also there influenced +t 
the structural framework and the ornamental details. But in- 
portant monuments cannot be indicated. 

4. Sweden. 

With the declaration of its independence from Denmark and 
the restoration of the national by Gustavus Vasa (1523), Swe- 
den entered on en unexpected advance, which brought to it a 
very important position among European nations, and the impor- 
tance of a northern sSreat power by the participation of Gust- 
avus Adolphus (1611-1632) in the thirty years’ war. The Vasa 
peried -- Gustavus Vasa and his immediate successors Eric XIV 
(1560-1568) and Johann II (died 1592) showed themselves to be 
zealous patrons of art -- so magnificent Tor the political de- 
velopment of the kingdom, was especially favorable for the f 
flourishing of architecture,and thereby for the entrance of 


; Say alabit teat? bas o0bs pee el uitss edt .enotal 
7h pleved to ytotaid. edt a& abaogest199 asm10l sat .0d8L 
[ Reghabdeteae’ d3id edd oF tottal edt: .sonagateaehH yiass sdt as 
eht Yo botneg ef of sBiint sosotetone® etns deibewe edt * 

eAS ndods toons Sso{steds inode oh .seiyts ooe00h bas onn04ak 
wees 9 -\S emuloVl.astando gnibsacaus 

- betefamoo ylisiiastedas agds asw slyte ent to aotdsaz02 odF 
“toqai c1om ods a0 sesei fA .sefidnv0s usmi99 1edto sd ai as 
~aktesot yd beottosigq yitetdo aew sigtoetidors .ataeugnom tnat 
-a9teb ai stoleisdt iausmis2 das easebaslisdts yd besbat .s29 
aemuedeeds couitenoe bua. dethasivensew ods gouisamos ovttsatm 
9t0G sstedbs esousesisneh datbewh sd¢ (e19a92 al .eoqeuliat 
"eq spay qiase ett mi ©, detasd off mad¢inamved 43 of vfisaelo 
~botesatmobsiq Liisa tdasods to shom (svesibam sag (0052-5San) 
-steb ai Ssyolqms [lite oxsk emi0t sf0t09 esdorsdo wet edt 29 
“@bid edt to bas yiimst Levor 90% to ausatatic iesxe edT alt 
“houew dedd ,egaatw {stovea To beseqroo ylicom oxo ysilidog 
047) 38 si9W0y exen0e 10 bnwos dstw doves asao as Savors bsquo 
' 88m 3OtfeTxO edt yuutaso At SL Ont To Sos sae fitoU .29f3a68 
“bivibags bentsse1. veostise {lew edt seeeqdaet 3 esAif besofoas 
-fe96 oa® .anthbaod bilos ao bisi.esw sdB3iow Yotdo sat bas be 
to) daomshasizs oft al .isiwkexat Llise.esw ewobntw ads to og 
+inevace| os bisq esw aoftastiea sltttl evswerste bas amoex eit 
odo .elisteb) ae beyolomo yltetdo aaw sousesisaeA eaf .eoas 


_~—«s-« BeBOR YRIAWOD enT “.motts10996 edd go bas eoideea .alesiog odd \ 


 toume yiisqicaixg esew yiutaeo da Sf edt at ytiizdon sat to 

. aobeziisa vad beeoloms bas ehsastamiei teeaR edt { aquork Ler 
F yonia .asaifiewb sosasmise 2s detsead stew vodt il .esfbed 10 
i +» sedpgastosy daid. to mrot eds ni taesKS Jesbom & bad yLteon 
“tea sid viad -foteaivibdse [snissxe sHoddiw asastonxte ea03e 
§ eSaomsss1s [eiujoosrdows ae bevisoss essitemorn eolass bas els? 
ddtw eoavod worse e19ew eoidio sat ab etaiDienb ‘easxisro oa 
_ %0 beaqete bus aisdsog efqnte .t2021 ot ewobsiw aw0k 10 eoxds 
 ~eieae® asmrog-deibasiiedtsi ear to efyte sda at soddey! bevaso 
=o8 gamte) edd boaislexq asw eevitom sviteieps’ sas al .90082 
_ ~sel [toleit beanega-aool eas aJiw soemsqa0 19vei2z9biA. cat 
| ® sautsd (0891-0088) botteq sesV toteLed? .(8VS 9269) . 


c oe <a BPG ad | 
y cee eae - ons a 


F hati ae eis lo asta ody Yo vetsolunen sot tovsebas. sepioes x 


~ " 
ooo a. ow 


: 
a” 


Co 


Pa 
% mn 


279 
the Renaissance. In its course may be distinguished two div- 
isions, the early period till. 1600 and the late period until: 
1650. Phe former cerresponds an the history of development 
to the early Renaissance, the latter to the high Renaissance.* 

* The Swedish bate Renaissance falls in the pertod of the 
Barocece and Recoco styles. We shai therefore treat it in the 
succeeding chapter. (Volume 3). 

The formation of the style was thus substantially completed 
&@sS in the otber German countries. At least on the more impor- 
tant monuments, architecture was chiefly practiced by foreign- 
ers, indeed by Netherlanders and Germans; therefore is deter- 
minative sometimes the Netherlandish,and sometimes the German 
influence. In general the Swedish Renaissance adheres more 
closely to the Germentthan the Danish. In the “carly Vasa pe- 
(1523-1600) the mediseval mode of thought still predominated. 
On the few churches Gothic forms were still employed in deta- 
ils. The great chateaus ef the royal family and of the high 
nobility were mostly composed of several wings, that were sr- 
cuped around an cpen court with round or square towers at the 
angles. Until the end of the 16 th century the exterior was 
enclosed like a fortress; the wall surfaces remained undivid- 
ed and the chief weight was laid on solid bonding. fhe desi- 
gn or the windows wes still irregular. In the arrangement of 
the reoms and stairways little attention was paid to conveni- 
ence. The Renaissance was chiefly employed on details, on t 


(the portals, gables and on the decoration. The country seats. 


of the nobility in the 16 th century were principally struct- 
ural groups like great farmsteads and enclosed by palisades 

or hedses. If they were treated as permanent dwellings, they 
mostly had a modest extent in the form of high rectangular 
stone structures without external subdivision. Only the por- 
tals and gables sometimes received an architectural treatment. 
Phe citizens’ dwellings in the cities were narrow houses with 
three or four windows in front, simple portals and stepped or 
Curved gables in the style of the Netherlandish-aerman Renais- 
sance. In the decorative motives was preferred the German so= 
Galled Aldegrever ornament with the long-stemmed trefoil lea- 
ves. (Page 276). The later Vasa period (1600-1650) brings a 
decided endeavor for regularity ef the plan of the building 


es ais inomebinetss biokyetledl Peds etsirqordas 13. bas 
~aints ai elistob to. taemissis odd af ems9 sad basd asdto sad 


Pubeages afsdi99 ¢ ofai Lisi esom deve eliatebh od? .bsatiet 
~nodtd -moitouborgisvo oF sub yitasa vidsdowg .seenvesletess 
~100, edt of betoveb at aofvaedss ieide 8d% betisq aids ak oak 

emaoed yisinso dt Yi edd to bas edt tucdA .eoldsk bas eisai 
aateob {[atene8 sd¢ ai estousdaet o000788 evosemga sidisqeo1s9 
~easlo esbieed .notdexd09b bas orusossifiods edt ai as Liew se 
-sn0isqsoqoo deibasilasdte" edt io. sagee odd at etaqmsdss otist 


wed baoose sds ak taat?t yosmoxqee List bonisdss tedsel sat 


-¥tIIAG99 ‘eid to 
 gsetado odd ,.botteg seaVY ylass sd3 to etasescom edd SnomA 
“=8r' bas {oa073 582) -itow sastiogai texit eds ei slodacia® Yo 


~a89 I[evesibea & to asia aalegsaai odt ead ifite 41 . (88SL=VE 


best to elisn bebivibus das atewos Sn0478 .edx000 ows diiw 913 


as. asd (S682 16¢%e) snetebs¥ to asstsdo tstaw ed? Asowdorad 


1 worisa bodsauele yilsuauag as as nele {solidoamge yistitags 
; evisesm bas wol yd betoetorq si sbra tao2% ssodw .3lkaaT09 
ssedsdo sd¢ disnao O88! teode not? -200itass @6 aiswos baso1 
M@ 8 Gdait dokasdo esw .eoks olbbim od3 mort aaiteb .rsaLs to 
ekaibliad sat .eetutourte wea evieastxe yd asstti0t aishon 
“<43f as bavors bequoig ylesosesmteoia ets guslowa ati batar0t 
‘Eien sdf .2towod of8n8 Ienoaylog 10 bnsor déiw sau0o ialud 
batrosiora elagaoiss. .2oldsh sdz of ay Sshiviosy ors senstige 
edt (88S 82%) .a9ed¢9s81800 eestsiilt oda esiesiags siiswivo 


GanieB. beqoleveb edt to sivts tasabmober@ ad4 sididxe sisdzoq 
~izes lo bas fedetwistseib yicediemes 2 sved dex Sones hen sh 


nistavot Intiduesd edg at [soteeasls ylevidaR .noteaetaxe Is 
stsl edd of seredhs ylesolo doidw ,(O88L tnode) suuodo sad ai 
baidinge sad leiesoisedai edd ol * .elesl 1eqq5: io sonseefene® 
bus yousSned Isinsesgom 6 esd Si .VIX Sis8 anid to snomtasae 
(886 .2i%) Hoivibnos aedtol att ag bevasesiq flan yoy ef 
Seis asiddnixod v9 eliew odd to soteivibdve Sectte s esd tI 
vtciltgo dnootiiaber 5 bas soiatos ywasd ‘tin aumwfeo ietsissp 
.Goksstaemsnxo Bsi ni dtiweteds ber inomes yiseqorg 

we S084 BBs ap Aso Bow VIC cist gnta yo ynexcid eas ot # 
so Yo. BAMTNASIAL OAT He ehood seito sebleed lessou “suduansi¥ 


‘besetanee) : alonys iW bestads ehaoled nin: ses¥ wetel odd of 


ed A nh . . . . 


se 


289 

and an appropriate and convenient arrensement of reoms. On 
the other hand the care in the treatment of details is dimin- 
ished. The details ever more fall into a certain dryness and 
tastelessness, probably partly due to overproduction. bikew- 
isé in this period the chief attention is devoted to the por- 
tals and gables. About the end of the 17 th century became 
perceptible numerous Barocco tendencies in the Seneral design 
as well as in the architecture and deceration, besides class- 
istic attempts in the sense of the Netherlandish conceptions. 
Tne latter attained full supremacy first in the second half 
of this century. 

Among the monuments of the early Vasa period, the chateau 
ef Gripsholm is the first important work. (S8dermanland; 15-— 
37-1596). It still has the irregular plan of a mediaeval cas- 
tle with two courts, strong towers and undivided walls ef red 


°3brickwork. The water chateau of Wadstena (after 1535) has an 


entirely symmetrical plan as an unusually elongated narrow r 
rectangle, whose front side is protected by low and massive . 
round towers as bastions. From about 1560 onward the chateau 
of Kalmar, dating from the middle ages, was changed into a m 
modern fortress by extensive new structures. The buildings 
forming its nucleus are picturesauely grouped around an irr- 
egular court with round or polygonal angle towers. The wall 
surfaces are undivided up to the gables. Strongly projecting 
bulwarks emphasize thé Tirtress character. (Fis. 367). Fhe 
portals exhibit the Predominant style of the developed German 
Renaissance, yet nave a remarkably distinsuished and eclassic- 
al expression. Entirely classical is the beautiful fountain 
in the court (about 1580), which closely adheres to the late: 
Renaissance of upper Italy. * In the interioersisithe striking 
apartment of kins Bric XIV, it has a monumental tendency and 
is very well preserved in its former condition. (Fis. 368). . 
It has a strong subdivision of the walls by Corinthian three= 
quarter columns with heavy cornice and a magnificent ceiling, 
properly harmonized therewith in its ornamentation. , 

* In the liarary of king Erie XIV was found an edition of 
Vitruvius’ works, besides other books on the Literature of art. 

To the later Vasa period belongs chateau Wibyholm (completed 


eae 2 ee 


rap oe r6s. | 
i, phe et? ,t1009 8 bavor beavose oan. agate eemid esodw . (O86L 


_etyde torad ‘deibns fredto¥ edd to eustxim 8 ewods S1nTosT TA9.y 9 


ebiw 6 esd (BAD) fdebedovel usesedd .emxot neaxe® stiw 
ol, 8 ud bhebivibdue ef Snibfigd nism ed? .dno1t at asco .ts 
obieeb [eienss eff .elyte noted edt ni teb10 retesliaq Isaze 
beomé .eeionebasd cooe1s§ evoremen eiididxs sigtoetidorvs bas 
“dLin ,<alofdoote ge sevod nevisteS edé ebsiblind s#sviag edd 
ebsost s esi [fite ,yausneo dt VI sdé to elbbim odé suoted 
bas sexs wobsin novee déin eosisa & to débiw edd of becolevsh 
. -28 bas , (ytote ted 6 es betsend Feomrsqqn edt) esixede anot 
-d3e% eit to elute edd ni sintoesidors sidet bas Iatiog [uitess 
018. & yd ontod si sesoaisdo omse ed? .consecisne?® deibselas 
~sladedien deetb odd wo Snibsste esenod abid bas woursa to ae 
~Sse1s oad ni seousseiaige: oo00188 dididxe ybeouls doidw .90 
-6idsh edt bas fesioq edt io daem 

~2e7065 deed ef botieq ses¥ seatt eds ai srmsossidors doagdl 
r (858! nedts) mioddootG at donal .2 to donsdo edt vd besne 
ot” evsd xie bne esirote soidd atin usfo otdto® vlextsoe [lite 
261688 edt bas eisttoq sat oo vie .ettvav sete bone oven edd 
ei .eoswod bas esoslsq to esidee end exit betassd ere dotde 
eibfiud fowwds gassicqmi deom off .eonsesiansa sat beezsiaxe 
~ideiad ts dowds ysinia? edd ef botisq seaV baoose sd3 To bn 
~o r ¢e Xismaed to Vi ositetadd Said yd SLSI ai nuged ,bssens 
~Joo1 8 to edeignoos tI .deineGd flide eew, yiio odd medw .smit 
tt ‘efbbin edt ¢s dotdu sven beleis esids sbhiw dos asivdns 
, -dq8ens1d £ Stil noitibbs as yd esbie dtod ts bedusise 
Tenokss 90 sebuetle yJisweuny bas ddid to dose nt svit to ewor 


beddix TEOT foidw no ,esso1s se7svenend srogqase exero s¢tine1a 


~d9 edd exsed soinedxe ed? .olyte ofddod edd at etfyev 22079 
to noiteniduos edt yd sonsceisnel feinsG edt to isdo8%s 

¢ bas ,abued bas eolkue rsidas edt yd ,enode tuo déiw exoixd 
-296u0d no seodd xii sant betserd .Beldee ssulov, aevee ond 
edd oels sxsid besboal -Hwontag af Jeedi‘ors ent (G86 279) 
~ninob end bentmisteb anix snivol~das bas bnivol-sysd0ced ious 
~9088 te dosudo. nlodersbbif sdf Rieeb eda to gentl gnids 
- bebmedxe bes dosudo asoeious? blo as moat bemrotensis .eicd 
_ulteise ,eleasio dmot ‘to aoiiee eridas ne to notdibbs sat ya 
— eboit deibow® sat to soe la Saideos edt es soussyogat 28889280G 


ead to 3 dse73 edd to es De td es Aeaoeee: bas eneacone envsdeu®) 
. ! -YITAVOCO: 


281. 

1626). whose three wings are beige around a court. The ar- 

27 3ae bag base shows a mixture of the Netherlandish brick style 
with German forms. Chateau Jacobsdahl (1344) has a wide cou- 
rt, open in front. The main building is subdivided by a col- 
ossal pilaster order in the Dutch style. The general design 
and architecture exhibits numerous Barocco tendencies. Among 
the private buildings the Petersen house at Stockholm, built 
before the middle of the 17 th century, still has a facade 
developed to the width of a palace with seven window axes and 
four stories (the uppermost treated as a half story), and gr- 
aceful portal and gable architecture in the style of the Neth- 
erlandish Renaissance. The same character is borne by a gro- 
up of narrow and high houses standing on the sreat marketpla- 
cé, which already exhibit Barocco reminiscences in the treat- 
ment of the portal and the gable. 

Shurch architecture in the first Vasa period is best repres- 
ented by the church of S. Jacob in Stockholm (after 1588), 2 
still entirely Gothic plan with three stories and six bays in 
the nave and star vaults. Only on the portals and the Sables, 
which are treated like the gables of palaces and houses, is 
expressed the Renaissance. The most important church buildi- 
né of the second Vasa period is the Trinity church at Kristi- 
anstad, besun in 1818 by king Christian IV of Denmark at a t- 
time, when the city was still Danish. It consists of a rect- 
ansular and wide three aisled nave, which at the middle is 
enlarged at both sides Dy an addition like a transept. .Two 
rows of five in each of high and unusually slender octagonal 
granite piers support transverse arches, on which rest ribbed 
cross vaults in the Gethic style. The exterior bears the ch- 
aracter of the Banish Renaissance by the combination of red 
bricks with cut stone, by the ashlar angles and bands, and %& 
the seven volute gables, treated just like those on houses. 
(fis. 369). The architect is unknown. Indeed there also the 
architecture-lovins and art-loving kins determined the domin- 
ating lines of the design. The Riddarsholm church at Stock- 
holm, transformed from an old Franciscan church and extended - 
by the addition of an entire series of tomb chapels, chiefly ~ 
possesses importance as the resting place of the Swedish kings 


(Gustavus Adolphus and others), as well as of the sreat of the 
country. 


a 


‘OUAIONS HI Ba ORTIRORE GOWAERIAUER VO | og 
.efyse bre Inemqo level isoriesgeth 4A 

-ol eds tebou someeetsuen edd io boitsa eft bosstns baseload 
-ei lS .Sa00H Jedd To asevo seal ofF .(606L<6S2I) a0beT to oan 
we Ysa shit To yineowox sis bewsotont .(GOOI-f8EL) déeda 
“ite .Setteut io aoitesteinimbe svidosotts bas sius Leoimonoss 
- soiiemh ddack ni eeinoloo bebaret .79Roq soe sit henedtiae 
segsi edt tot noigsbavot eds biel bos .eetbal tes® edd bne 
16d. asbhoU .t9woq see1k 6 Bf ysoUBnON deidia& eds to sMisicos 
eemis ocd .(ESE!-O8!) baslsoo® to seta .I esmal .roeesoous 
bedinn siew basierl hae beslsoo€ .boelen® te emobanis asisind 
~asdeib igniedai dasioiv edd to ediqe al .sotny [sxoitden & ni 
709g ent To onieia ecg bas noibiles od aniwe ylieino .esoned 
~ot Isisvee efd bas esiaia tiedt to soidouber ods tanisgs of 
yiiteqeorg edt .soner% bas ntsae ,basiloh seniaas sxew saies 
Yissaen dt SI eds sl .yansnee ds SI esxid¢ns ost ni bennttaoc 
~atedxs Soe lenietnt eisrwdiol ati to sonespeenco oi ,bne load 
~itentmob tewoq bilaow & ee notdicod tads of sso eoisifoa Is 
-yeb dnezenq odt of beaistaism asd ti dotaw .eoseoo edt [fs an 

-egi stivo fo bsiateo cen Onelaak to ysosein feotsiloa sat af 
wiorssool Isoidqaeubos: elidexovel eii od exusdd .ylonshasaeh — 
saoninoxg edi. bus tedoezeiio Isnotten esi to ytifeubivibui sat 
-qebai ss wood yrotein 328 Sci saiwexii oe .xsividos Isipoloo 
eousepiens® .mefasmud doidw ai emis « th .Snemgolevsbh snsbine 
“moo ssomls as bsonboua bet eeiaiasoo tense ut sottemioten fae 
svidevisenod hance eid basfeak az Jesq sid sdiinw dsead stsig 
~of sf nidsin edsant ef103 sRvot eat idiw elooea eds to sence 
tied broves edd of dete .enottibest Ieveribem of boxsdbs $a 
esw ,ddedserl® noenp To ngics edd aebay .yaudneo dd GI edt to 
| fase yiwineo s sdguord yhecals dnemevom yeddin odd bswaisaco 
a eioisibaos leienss edT .JSsonedo ons egoise viedl wort isi 
wai wea to sonetasncs ods 10t eidesovet ylisiosase é1ew oxedd 
moo edd to sotscidasonon sdf .esebi cideioas bas levdoelies 
tasngolevet edd bee etesco deilont ena go bizow eft To sores 
¥ ~2n8ad & tdavoum Jetsam nesgowwd s es nobaod js Istiass add te 
: 2olst ed? -eno0itibnoo Isioor bas pimonoos eds ni soidemret 
Dae ne yino ton berstzeot Dliow wom end Ye atison eat io 
& (eee 1s o8 bodadi wage. oefis yess Jeousy Sad od Jiriqe evo 


. 


282 
29 V. RENAISSANCE ARCHITECTURE IN ENGLAND. 

A. Historical Revelopment and Style. . 
England entered the period of the Renaissance under the Ho- 
ase of Tudor (1485+1603). The last queen of that House, Blis- 
abeth (1558-1603), increased the prosperity of the country by 
economical rule and effective administration of justice, str- 
ensthened the sea power, founded colonies in North America 
and the East Indies, and laid the foundation for the later 
position of the British monarchy as a great power. Under her 
successor, James I, king of Scotland (1603-1625), the three 
British kingdoms of Hnsland, Scotland and Trelans were united 
in a national union. In spite of the violent internal distur- 
bances, chiefly owing to religion and the rising of the peop- 
le against the reduction of their rights, and the several fo- 
reign wars against Holland, Spain and France, the prosperity 
continued in the entire 17 th century. In the 18 th century 
England, in consequence of its fortunate internal and extern- 
al politics, rose to that position as a world power dominati- 
ng all the oceans, which it has maintained to the present day. 

As the political history of Hngland was carried on quite in- 
dependently, thanks to its favorable sgeosraphical location, 
the individuality of its national character and its prominent 
colonial activity, so likewise the art history took an indep- 
endent development. At a time in which humanism, Renaissance 
and reformation in other countries had produced an almost com- 
plete break with the past, in England the sound conservative 
sense of the people with the toush force innate within it lo- 
nS adhered to mediaeval traditions. First in the second half 
of the 16 th century, under the reign of queen Elisabeth, was 
Continued the mighty movement already brousht a century earl- 
ier from Etaly across the channel. The general conditions t 
there were especially favorable for the acceptance of new in- 
tellectual and artistic ideas. The concentration of the con- 
merce of the world on the English coasts and the development 
of the capital at London as a European market wrought a trans- 
formation in the economic and social conditions. The tales 
or the wealth of the new world fostered not only an adventur- 
ous spirit to the utmost, they also contributed to an easy a 


aan V4 q _ wr reuse > le AP ee Tins) @ © , A ai 
Dear’ ve Pid Pye ¥ = ae ; , ; - “i! ys ‘ We, 
1 7 b fe #3 , : { 


eet ih fi9@up le basipait oa ottl to ‘Yonebaes detwel bas 
 «XIdaHOo gente on oF eitt to toemyoias eds ni tobvetni eew 
[edie iioo a* pusldaa nk bibnelas teom éf¢ io sno esw oks i9f 
~etser8 edt sent nisak ddiw geetnoo enoksoterv edi. .yioseid 
~den edd ni yot to Sarieet betsvefs ne beoshorq bed .sewoa te 
(818t-bezr) eiseqasisde dsoq ali doidw of .eonedsetxe [enci 


to engte sid bsrseqqe exsow eid of .notezssaxs ¢aewpols sved)' 


ts bas enoieesq yidsim .e1ed oets bas dsvod ond at ,omid odd 
ae -AidSue1te nempdsease of eugisorit 
ylesolo teow eew buelba® ni oupsoesipiorws .e31s odd Ils 30 
-eevil aiedé To esonsixv900 edd bas siqoesq end dtiw bodosanoo 
~basdo eds bas noitevels faaoiden ine dimonoes teexk edt more 
.eseluaot seehksoise sad hevigoet tf .ybeshass [sotoolIsiai be 
ods ni droimen omod to sebi edt beqoleveh ssasdorem dota sd? 
~Ifewb stiedé 10% adnemeriness beesei0Hi tieds Yo noises tetize 
| scomegaerse 228ie .ssdmyn .noidsool tieds o3 basde1 ak e2dnt 
8 beknade & hevisest esiiio edF® .ewoox ond Yo suemdsoxt bas 
~ive smsced ybeaotis aesfo nesttio edd Yo elyx siP cgonerasoas 
~i8w Bat deol ysilidon off .elyte L[eustoetidors aiedd ak taob 
bas seiltes odd eelseso aiedd dA .seéce9edD Snsiteh bas oit{ 
evek won sensteb bus Aostts set bekssiie Emoor yHools asdito 
edt to etses eft 10% .200id90q bibnefae bas sdbil of soala 
bas gi0imes Jot tovesbus sdé ,tisoo Isyor eit tot es ,esidon 
-eviisainseded esw stil sxitns eda Yo suomenites 
i eioted ybserls beiseqgs yliesoiesooo emiol sonsseisael sAP 
q agfet edd anisuh devil tud .yrmtneo dd SI edz io eibbim oad 
eves. besbai ef8 .botqsoos viletemes etew dtedseri§ nesup to 
froebatt at vaells) enotesinros feqmsoedidors Jastioquinn dud 
918 6f3 101i sexlivomi betsmins dtin wiilidon eit beifaone tod 
‘ edd fo treneonevhwe ofT -etses yIsavoo bas esosisa to notte 
~seroeds bas soonest tai nsierot so etom beasd exw oonses fees _ 
atediol ybse1fA cence dus stsant ns wo asdd .eoibuse Isot 
a ‘ot yenmvot fei sid ano besuciidnoo (888 ebsa) sekowoY edd 
~is) siodd vase Josism1sq efd aaiiasb aetel bus (88eb) baslen8 
“edi 08 bas elyda wen edd te shbolwond oid od doum (S68 r98d 
rests eaude ndol& ,asapeifaa® ne SSG T6SY eid of .oo0ienedxe. 
edt go {ae detiaae exit odd bedeticna .gletI ni nesd &nived 
YL ha ob sre dé iid to ebnisian eds r0dei yersb10 ssumvloo 
| -detigs® otaé bstelenest onls exer 


te a 


a 


hy 


233 
and lavish tendency of life. The Sngland of queen Blisabeth 
was inferior in the enjoyment of life to no other country. 
Her age was one of the most splendid in Bnsland’s political . 
history. The victorious contest with Spain, then the greate- 
st power, had produced an elevated feelings of joy in the nat- 
ional existence, to which its peet Shakespeare (1564-9616) s 


(gave eloquent expression. in his works appeared the signs of 


the time, in the South and also here, mighty passions and af- 
flictions in superhuman strensth. 

@f all the arts, architecture in England was most closely 
connected with the people and the occurrences of their lives. 
from the great economic and national elevation and the chang- 
ed intellectual tendenégy, it received the strongest icpualses. 
The rich merchants developed the idea of home comfort in the 
satisfaction of their increased requirements for their dwell- 
ings in regard to their location, number, size, arrangement 
and treatment of the rooms. fhe cities received a changed a 
appearance, Fhe rule of the citizen class already became evi- 
dent in their architectural style. Phe nobility lost its war- 
like and defiant character. At their castles the earlier and 
often sSloomy rooms arranged for attack and defense now save 
place to light and splendid porticos. For the seats of the 
nobles, as for the royal court, the endeavor for cemnfort and 
refinement of the entire life was determinative. 

The Renaissance forms occasionally appeared already before 
the middle of the 16 th century, but first during the reign 
of queen Elisabeth were generally accepted. She indeed save 
but unimportant architectural commissions (Sallery in Windsor), 
but supplied the nobility with animated impulses for the ere- 
Gtion of palaces and country seats. Theusdvancement of the 


_ Renaissance was based more on foreign infiuences and theoret- 
ical studies, than on an innate art sense. Already Holbein 


the Younger (page 298) contributed on his first joumney to &. 
England (1526) and later during his permanent stay there (af- 
ter 1532) much to the knowledge of the new style and to its 
extension. In the year 1583 an Englishman, John Shute, after 
having been in Italy, published the first Enslish work on the 
columnar orders; later the writings of Philibert de 1’Grme 
were also translated into English. 


| ‘ete avecieks’ RORa TO eat setuedsee nzengton [le wai eA 
! -do ylletinstedue juoisin .emsol Ieépemen26 bebbs es betseaqgs 
‘bodeninizo asd? .noidoquasenos to wsdeve Lavesibem eas an Sens 

Ww sonseersnel ond to expsxim Spiwasdo yrev bas expeetudora « 

-3h Stow vevitom [svesibem edd doidw at .efyte iobsT edd dstw 
~onsiasaxe sonseeisnsh edd to ssodt oficy feovestaque ylisubs 
edt (GS0r-805L) I eomsl robo .seemenites snieseroni ne be 
eid ti neve .oxsa yidsexelog ybssils aaw ewiot ic suemisend 
-iasé0 10geeooue eid isbay sud _»bedoses Ifite show Isvesibon 
extdns esi ni betenimoisigq soneeetans® edd (eher-as6r) I as 

WwW enottsies stemitat bentetaiem kati enivof-das 3fT .vsiang 
bedoel foo feves ,SiybasY bas anedsl .exstoisq dotuG ows dtiw 
-idifoq sid ni es weinsmoS o¢ bentiond caw base ,Betseesis 246 


a 


at baset sosseeisnef end reds oe ,efofnigo evolgite: base Iso © 


-pdéuss di Sf sdi Yo Ifisd bmooes sad nl .noisgeq esolses 6 mid 
~a8 nk yonebnes Isoitoxcsd? Bnorte es hersscas "aaet sodis) yx 
- =o to batmatked sds Liton benni¢neo deft .srsdoesidors teil 
. .fyaudmes dg 8 edt Yo olbbim) meiotersloo 

© oft ni hedeivenkseib od o¢ 1s ebotseq sordid yiinibyoood 
Sonseeisnsh yises edd .scoseatisaoh deiiash edd to notitalove 
otak beiteq eids ebivibdwe deifteds sdz -- G&86l-O8F4t guods to 
‘geedooal sid to bus asdésdsetf® sdt to seodt .enoktose ond 
eas Bae aa! ot GS6I mort eonezefsaeh diid sdz -- * esiydes 


eile? bofasq tessel eaT O8NE of BOSE mort sonseetensl otal 


-esiysde ooooof bas oooossS sit Yo omits edd ni ylouitas 
Qhinaiyss edi wos, .eiqmexs donet# eft setio banigni al * 
fei tans XO soionsines elute tomise]ld eit sonneeionss sat Yo 


, -eetsash ylues sds .elyte eis io tnemdsert edd ot bused al 
~breos bat me aiasd ti sone .pnitesrednd vivslvottssa ei. A068 
~qk9 viseefo geom et #1 .astosssdo Isnotéen viexrtins bas ¢n5 


bas soidibsisetéaoidem sid covreeei9 gsee yadnvoo dailead ont 
eds mort es eooeleg naifssT ons work doum es exstiib ydeusds 
Ui es susoebnsl ne918 ons ni botsool eaw ‘4#T .eveetedo donsat 
© es bas yasm es biotite sibim si tadd os .o7eds gwork bat ai 
7 ~nex18 eroleiens nef .eldiesoa es d19q efit io eweiv baimsado 
mean e10m oud hag : sretaty obte ebivorq cele od aeb30 at bes 


ea TR 


— .Ratngses neat shosonom shi set {se DemMN BASU BXutoOSstinorD 


+usilides edd Yo edeee yidauoo ent bas eeosleg sit so becest 


ae 
Noga: 


‘As in all northern Countries, the Renaissance elements first 
appeared as added ornamental forms, without substantially ch- 


angins the mediaeval system of construction. Thus originated 
a picturesque and very charmins mixture of the Renaissance w 
With the Tudor style, in which the mediaeval motives were gr- 
adually suppressed, while those of the Renaissance experienc 
ed an increasing refinement. Under James I (1603-1625) the 
treatment of forms was already tolerably pure, even if the 
mediaeval mode still reacted. But under his successor Gharl- 
es I (1625-1649) the Renaissance predominated in its entire 
purity. The art-loving kins maintained intimate relations w. 
with two Dutch painters, Rubens and Vandyke, even collected 
art treasures, and was inclined to Romanism as in his politi- 
cal and relisious opinions, so that the Renaissance found in 
nin a zealous patron. In the second half of the 17 th centu- 
ry (after 1665) appeared a strong theoretical tendency in Bn- 
Slish architecture, that continued until the beSinning of Ne- 
oclassicism (middle of the 18 th century). 

Accordingly three periods are to be distinguished in the e 
evolution of the Huslish Renaissance, the early Renaissance 
of about 1560-1525 -- the English subdivide this period into. 
two sections, those of the Hlisabethan and of the Jacobean 
styles * -- the hish Renaissance from 1625 to 1665, and the 
late Renaissance from 1665 to 1750. The latter period falls 
entirely in the time of the Barocco and Rococo styles. 

* Im England after the French example, from the beginning 
ef the Renaissance the distinet style tendencies of English 
architecture were named after the monarchs then retgning. 

in regard to the treatment of the style, the early Renaiss- 
ance, is particularly interesting, since it bears an independ- 
ent and entirely national character. It is most clearly exp- 
ressed on the palaces and the country seats of the nobility. 
The English country seat preserves the sabsionaboatPadition and 
thereby differs as much from the Italian palaces as from the 
Hench chateaus. It was located in the green landscape as if 
it had grown there, so that it might afford as many and as c 
charming views of the park as possible. Men therefore arran- 
ged, in order to also provide side windows for the more impo- 


; yen peal edd ces i e180 sguorods enides suodsiw .oelg paca 
* estas O79 sieddo ot dfaueer ylisiao bas. pueda & ni ebsosi 8, to 
 , bextt. on, bevofeveb ed bilwoo esfatonina sesdt gO eso ite S50 
“gous edd asissoustes svienstxs edt to% .moteye f[sansostidors 
dd to ebmin seads Yo dnometusiis os awode yilesened aslq bn 

- betdaid Lion bas tsexd .2 atésd 6 to mol sdt af Sntbhiigd 
«BERD evewiieds betserd yisoia bas. evoioses .elied sonestus 
-o9o0l yd beiatsiesgqg smoot odd ots eefseifse obiw bas nol .{OVE 
“vit seqo1q eff booverd exe meds bawoxk .tnsatsead bus notts 
rs) 949% eifete odT .pmoonr stsnibsodse sedi bos efasadasce eat 
~ilies beviso yldoia eved yeds ;boon to besoussen0o yilesenea 
-10% eitasm Iseeoloo odd (INE .bif) emoon Snivid edd wy .2am 
-txe mobiles ton baa soitsiooeb sda to goetde Isafonise eat ef 
siow elisw bas ewobniw yed sd? .dniliss o¢ ac8eLi wmeoxt abas 
~pest ,pnitfensa neboow hetesis yienii yt bereves yldsssissg 
baidies oft 10% .elisaw efd to ddbied e1itae edt 103 ylénes 
_ieesodo mobiee tud ssw noivourdencs asboow yew baitiase 5 at 
aomy0t sd¢i ao moitsvonui as es hesbak .beyasisig esw cooude 
Otai soietvyibdye § asviR sey toidw ov bas .Jasmdsex1d to shows 
& eettesot ftin ,wanibluom &nisosfote beyvago vd eleaso Ilene 
etel oft to mois ssint ni) edosboog &eibasd neve eomivemoa bone 
eft a0 .ebned oft to encivosersini sit te (ednsbasa oidso® 
figiw sooidiog to setenoo etiam dideiaedosssio ssi YOiiedxS 

ni isiei .soitstnomensze oibleiss bedessd yisoie bas enuntoo 
vie esewod exii Saieix asiniousde Iassoag bas boixode Leisvee 
: ~bivib, ewobaiw eesei yxoy .(GNE .BEE) ecisg ni tee somnfoo dé 
m dtin woboiw ved ed3 .2ted ego79 One eootiiom [eveveer yd he 
_ .89ideg beviwo worse slonie ,aebexdayisa hbedssctysa acti ina 
_,etersud {ied bas ysd ,eloos edd belesonee Baied mond baited 
wiot ods ot yldeom ,ayenwide bseneots ylenoise avoreaun bas 
~idwos biod s buvot et elietob ods nl, (SVE .¢8) engwdeo to 


~se0 ytins sistiso s dey izelded ofetob dgsened enito’ serseote 
~o7G Bi soeite Iuiedsed # sasé oe .elodw eds od beineb ed Jon 

_betttnsio esoved oafs bad elistsh To emspt sit restd .beowb 
rhe atdtod odd, (006L dueds) sow need bed yeiawq steLqmoo. bas 
pokertie. ont bas e1edmon ad to soomednenye eid boonentiat Lit 


_ton ess swobniw betaiog has sob0T) amit sinskroni io sotten: \ 
“aS wobuin issiessio ,eseteeliaq sonsterense yd bexeedi mobies 


PA 


"285 


3) 9 important rooms, several projections and recessions in the 


Re 


Z 


Sround plan, vithout taking thorough care for the development 
of a facade in a plane, and chiefly sousht to obtain pictures- 
gue effects. On these principles could be developed no fixed 
architectural system. For the extensive structures the srou- 
nd plan generally shows an arrangement of three wings of the 
building in the ferm of a hatin 4H. Great and well. lighted 
entrance halls, spacious and richly treated stairways (Bis. — 
370), long and wide galleries are the rooms preferred by loc- 


ation and treatment. Around them are Srouped the proper liv- 


ins apartments and the subordinate rooms. The stairs were ¢ 
generaily constructed of wood; they have richly carved raili- 
ngs. In the living rooms (Bis. 371) the colossal: mantle for- 
ms the principal object of the decoration and not seldom ext- 
ends from floor to ceiling. Phe bay windows and walls were 
preferably covered by finely treated wooden paneling, freg- 
uently for the entire height of the walls. Hor the ceiling 
in a striking way wooden construction was but seldom chosen; 
stucco was preferred, g#gndeed as an innovation on the former 
mode of treatment, and to which was given a subdivision into 
small panels by curved projecting mouldings, with rosettes a 
and sometimes even hanging pendants (in imitation of the late 
Gothic pendants) at the intersections of the bands. On the 
exterior the characteristic marks consist of porticos with 
columns and richly treated heraldic ornamentation, later in 
several storied and portal structures risins like towers wi-. 
th columns set in pairs (Pig. 375), very larse windows divid- 
ed by several mullions and cross bars, the bay window with m 
mullions, perforated balustrades, simple narrow curved gables, 
behind them being concealed the roofs, bay and bell turrets, 
and numerous stronsly accented chinneys, mostly in the form 
of columns (fis. 372). In the details is found a bold combi- 


29nation of inorganic forms (Tudor and pointed windows are not 


seldom flanked by Renaissance pilasters, classical window en- 
closures cling beneath Gothic gables; yet a certain unity can- 
not be denied to the whole, so that a tasteful effect is pro- 
duced. After the forms of details had also become clarified 
and complete purity had been won (about 1600), the Gothic st- 


‘ill influenced the arransSement of the members and the extended 


ei ‘open bas stots fortavoms eff (eee are. 228f%) snotdnoqerg 
| odd RE ebet io? qitstio need oven of emeee texit se noiterooeb 
=i OF dutdehow ni 1efiwie yiev ef af bas ,eossiat bas ewollod 
“ni eonesg di astef 77 etoner% Yo sonseetens? donea% edd Yo ta 
oes ©id@ow bedfon has bisisvevo namve® edt to sivta eds ot 
ei doidw moxt .2eoe118s seers wort seia yfteom ensedado sdP 
two biel ,enehied fetaemaaro terol edt ofni nwob beef eqese 


besofons nfiets stew avet siedsd ni dotdw ,e¢esd astistI otis at 


eebiesS .eeli{tur ([stasmanto snitt yd igeq fsaristxe sds woat 

“nod boow sonseeianoH yises deliaak edt ni aoitonatenaoo snota 
yissuos edd ot yino toh .beqoleveb yldbid ess onfs soktovite 
-mgedo to zedmen tearm s bevierstq ets esitio sit ni osis tud 
-on) efaisetem edt to vsttidesash sdt of etneds .etnomnnom Bai 
eda to tasq secdeenb odd eoeuod oft 20 .(xeo xO tunlaw vite 

oe ylteonpext .ewobniw yd. befqudoo ef ebeost sit to sostane 
-hoow to besouirtenoo sd of sseqqe ellen taorkt edd send ve dogm 
~etea 8 @8 edase yotavoo eff .efenba eeeldg ddiw dyowemext ae 
pol ushoow oft esitio sdt af io8@ .eetiode ows bosoxs fon of 
dtiw sedto tose baoyed gutsoetora estrote. Iatevoer oved ese 

-"q/ edt no heesd ef gootie edT .esidgsd osote bas exobaiw yed 
eesnd af bas .esoeinne ifaw ed of e®afnsao sat To enoistxoce 
“7280 ,eodelase bersiesic hoe drowhoow Yo nottented¢ie edt mo 
etaog (ssi¢sev: edd Yo enottiog feilessq edt ai ofcainsdoe 
.elevistat wou1ss fone diiw bedseqes .eestd soprido eis Yo bre 
ste duods .meds nsewded esif [lew to afase rorvien s vino tells 

_ saeb sivnoissiocef Teido efi seiweeds0 enxedmis eds io ithitw 
«© 488 eaeq) exsdmit suo Liotersésup bee aaleotko beeeors yd ben 


set <i Yor snoo0! feiweiid adnemenio’ sostsnl . (28S .RER 


an 816% 995 Wsalyoe sid to sdiow Isndor 

: } = te deeee: sod ssben beocttues cede siyte asdveds2ei ta on 

} dvi¥ .dasmenites Qnéeecacni dtty beddny {RSP T+E08L) T vem 

; -sigte odd .yavtass da Tl odd lo t9d5eyp tesct eit Yo hae sat 

“ot to esisee neifesT en? .sonsesisneA Abii edt o¢ni botudsm 
to beet sit sebaw .se0menpeence efi Ife dtiw bedoobe esw en 


©) ebniblicd! ftoe detigaS so seo esd? jebte lie’ yd bedneees 
; ~e18 edd to Loodoe end mot seotdeeso TM neve .ey miedo dotdw 
ed .dda0M agtd ens of beacelenert od ot ersw enismeoid se 
BB Teddea are ig: de e6w tedesm ~* edi to ywvivitos 


: hem 


La 


i ork 4 


— 1 


| wast nottgsonco sit ak bsobat .yisaI sf hentess wetesm seer 8 () 


236 
proportions (Pigs. 373, 376). The amount of stone and stucco 
decoration at first seems to have been chiefly foliage in the 


hollows and friezes, and it is very similar in modeling to th- 


at of the French Renaissance of Francis I; later it passes in- 
to the style of the German overlaid and rolled work. 

Fhe chateaus mostly rise from Sreat terraces, from which s 
steps lead down inte the lower ornamental gardens, laid out 
in the Italian taste, which in their turn were again enclosed 
from the external park by fine ornamental grilles. Besides 
stone construction in the English early Renaissance wood con- 
struction also was highly developed. Not only in the country 
but also in the cities are preserved a Sreat number of charn- 
ing monuments, thanks to the durability of the materials (mo- 
stly walnut or oak). On the houses the greater part of the 
surface of the facade is occupied by windows, frequently so 
much so that the front walls appear to be constructed of wood- 
en framework with glass panels. The country seats as a rule 
do not exceed two stories. But in the cities the wooden hou- 
ses have several stories projectins beyond each other with 
bay windows and steep gables. The effect is based on the pr- 
oportions of the openings to the wall surfaces, and in these 
on the alternation of woodwork and plastered surfaces, Ghar- 
acteristic is the parallel pertions of the vertical posts — 
and of the oblique ties, repeated with such narrow intervals, 
that only a narrow strip of wall lies between them, about the 
width of the timbers. Otherwise the chief decoration is for- 
med by crossed circular and guatrefoil: cut timbers (page 88; 
fig. 374). Surface ornaments likewisi occur generally, bat 
actual works of the sculptor are rare. 

The Elisabethan style also continued under the ‘eae ‘ef Ja- 
mes I (1603-1625), indeed with increasing refinement. With 
the end of the first quarter of the 17 th century, the style - 
matured into the high Renaissance. The Italian series of fo- 
ras was adopted with all its consequences, under the lead of 


4:08 Sreat master trained in Italy, indeed in the conception rep— 


resented by Palladic. Thus arose on BnSlish soil buildings, 
which charm us, even if creations from the school of the gre- 
at Vicentine were to be transferred to the high North. The 
activity of the principal master was at this stage rather as 


a 


sae a sion I[sienes ni: ape HOBO ies edg éedeacionel 
Bi gawtoetinors off .t6nnsm botsinolso e10m s ni belbned eaw 
dd {metseotant Snieoqmi ns code ydiusnperl enkiesb baszR edi 
~nobast eidT .eesletil baa bleo is90q8 nesto elisteb oat tad 
feds ,dicige iis deilent say o¢ yioaorte o2 hebsogesisxoo ye 
“i999 evoiiogoiv edt of siostedo eldetagsomapant os boeogao sti 
-silivio ifs ylasen otnt Snitsisionsa ,elyte osooisd et Yo se 
es «vistaeo dé Tl edd to bao sig tuods esiataseo be 
~ 84 -edneuuao¥ tast¢s0Gel seoll sdf .a 

to dese oud ei eonsestanel deittoi sat to doow seotdass ea? 
outeiG yd .(8LEb) yoddA cetenendeoW at stim eid bas ITV yaaok 
I .ofstasiedsi¥ to fiuva wolfe? 6 .sonst01¥ wort onsigeatoel 
.218iq ae eobsois détiw sldism to sisdourzte saat bibmefae 6 3k 
és6%18 devil eit seiwottd .esaudeinoe yd beatobs vinert teom 
tesfanog .nstiss= ns yd sew soaeaeianes yisss edd to vestaco 
~fdiois ed? .aube™ te tanevoid yd O8SL-YOSL mk botosis  .senok 
ods si duf .eniot stoves eidsielos ni beniartes1 ef sautoot 
“s (Nadag00 edd to modeso sit bewollot rstesm edt aslq hawoxd 
yd gifiesbh asivanedoe1 odd to ebsosi sds bebivibdsa ed nedw 
ylodom es adis09 [femme ond sdv besse1s bas enoisosto1g yosm 


 adol. bemea ef tosdidore eviden darth odd 24 .adavos deel \ es 
ehas .(88S eteq) exodsf visiedil @idi yd nwood ybsette .saa0de 


‘est done es yiivites {scidosig ath .nsenp odd lo soedsidois 
ud bebesooue eau oh 255! ai both of dmoiversb isixd ted Yo 
~fegetene® deitsad pitas edz lo teteasm geeck sat .saq10dT adob 
asiecvesq of .OVC! soods viividos tasbaydsrsid ansped ef .99 


-emid tadd to stseen ytsos0o toasuoamt seom eas to 10¢sesD sat 


 evdeses yfouitse ef taort asbres seodw . (Yvan) segoH dsisiieg 
: -gyieq0 baue ecbsost Snigooterg vd esoetowe Ifex worsen ogni be 
(S6El-08EI) saddemecdniséo at LleBinessllo® -eaewos [ano 
esistouite sline déiw Bniblinud olbbia oviseaw s etidinxs seat 
“wd enrol sonesetiane® daitqohs ylbebtesh ybseals .eiswos sxid 
seg peonesose [eves edt at eamoioo bane eastestia to san snd 
{das isteos1® dtiw base ewobatw besoifiua sacad sit kniaisses 
aside oda moult bhesedimk ets doidw .eaniblind signs sé no Be 
oma dtiw (S08L-198L) yaudeidet sscaeftes6 du0kgaod iduibasl 
? eeu bos eolpas odd ts asewos basoi beowd yrev bas wold’ bs 


Ee ee oe 6. a ae er | 2) bs 


“2 
2g 


287 
designing in the same spirit, than as imitatins. In the late 
Renaissance the form canon became in general more severe and 


was handled in a more calculated manner. The architecture in 
its Srand designs frequently makes an imposins impression; b 


but the details often appear cold and lifeless. This tenden- 
cy corresponded so strongly to the Enslish art spirit, that 
it opposed an insurmountable obstacle to the victorious cour- 
se of the Barocco style, penetrating into nearly all civiligz- 
ed countries about the end of the 17 th century. 

B. The Most Important Monuments. 

Phe earliest work of the English Renaissance is the tomb of 
Henry VII and his wife in Westmenster Abbey (4518), by Pietro 
Torregiano from Plorence, a fellow pupil of Michelangelo. It 
is a splendid free structure of marble with arcades om piers, 
most Bichly adorned by scukptures. Likewise the first great 
Chateau of the early Renaissance was by an ftalian, Lonsgleat 
House, erected in 1567-1579 by Giovanni of Padua. The archi- 
tecture is restrained in tolerably severe forms. But in the 
Sround plan the master followed the custom of the country, 
when he subdivided the facade of the rectansular design by 
many projections and treated the two small courts as merelby 


/ light courts. As the first native architect is named John 


Shute, already known by his literary labors (page 326), and 
architect of the queen. His practical activity as such was 
ef but brief duration? he died in 1564. He was succeeded by. 
John Thorpe, the great master of the early Enslish Renaissan- 
ce. He began his abundant activity about 1570. He passes as 
the creator of the most important country seats of that time. 
Burleigh House (45/7), whose garden front is entirely resolv- 
ed into narrow wall surfaces by projectins facades and polys- 
onal towers; Wollaton Hall in Nottinghamshire (1530-1583), + 
that exhibits a massive middle building with angle structures 
like towers, already decidedly adopting Renaissance forms by 
the use of pilasters and columns in the usual sequence, yet 
retaining the great mullioned windows and with graceful gabi- 
es on the angle buildings, which are imitated from the Nether- 
landish; bongford Gastle near Salisbury (4591-1602) with pro- 
ud, low and very broad round towers at the angles and open 


7 


SS & i 1. 
* ‘ 5) 7 
sae Ais | fi, 
Poe | 88S 
2. pe 


7  Romdgm odd. To eaudonsde sibbim sit mo eeinose ows ni eethaol 


nt befefqmos) nebned ss90 ao¢bniened ot oanoh baelfok :ebsost 
beitev, bas doit ,batqveva supessetobqryd belcivkatdarb ,(vO8s 


gb setoll bieitsss ses{dek euoitsmen. bes eretoedidois Lentesxs 


“0968K® dasmtssi1g bibosfoe ditw (L£Sf mt sfind) evisebroterzes 

Qatblind efbbia oa? (OVE . 85S .e—e¥)o.eldenrséet bas yils 
-9tq wods susoitinkem teom ods besbak ei ebaoet nebye® sax to 
~eisash fieidgei begodeveb sdt ic sisdcetidewe saove suo at so 
ab (@ll ekeq) “eoboilod" to asdesn seeuk 8 eetwetid conse 
~eeidié edv to eolaqnsxs snozstg vieesioxs HiotxD bas e&bisdmad 
~K0 te vieadid meiolbol sdt to sonsiasae edt th .efyte asdied 
~amelos to asisede evil beosly SO8L-TSat ni aioh asmodT .br0% 
-sit bas eatsq ni befowoo ese tends .19efto doses asvo asysbi0 43 

sWobnis benotiium eat es {few es Isdicq bedors-basor ots dn 
efieonsecianss yiuss edd to eivor Ieqionizo sestsi sdt to an0 


-d efamte yievissisor 5, €6S8I-S885)) seadeaipata seen {feb nosed |. 


Goad to xedmon tedsets edd tol ocitdeiuesosisdo tod .kaiblind 


‘ett eebiesd «(SSS .9f): omit aids fo etsee yusanos feilgab 


*gneeitio eft ebmibliud oifdue ens bas ytifidon eat to esses 
loresiase evtins as uk sonsesiane® yiise add to evutossigots 
disod .noitsiebhiesos gnidiasm aiddow yd hednsegeside: ei esitio 
Scan MoLtouisz2aco aeboow ai bas enote at 
-Obinl ase eoneaeiens? dbid derieeD eas Yo istaam toido eae 
tastse1s tiedt es eievet detigna eda modw .(468!-&°E!L) conok 
bas ,sefbste beuniteas 102 yisstE of sotaus ean ok .tosdidors 
-is9 lo yousbass sd¢ to svitstasesias7 ewolacs 6 owsoed exsdd 
bid otni-ylaussebh of bhet)etne istesm asedtien asdto of .oftbel 
dégeds beonsmm00 yiiviteos [sivtostidore eff  asac’ 28 sisias 


tuebsetaiueque uid hetateaqus anid sd¢ GlOPigeey sas at Oar 


tetdo etd sebu0o yd bentieeh ion ehiswassts foo® .etntbhiind to 
“brooee aedel s of doidw .nobsod 10% sosfsq fserofoo s .Xx0w 
ov Aatbtoook .nkiesh wdte9e1® [ites otntebevaaine ed nrieod 
~ow bas .d1 88S < OOSL efgnsiocs s betel eesndowite suid vids 
bas daso0 elbbin betetaofe ne ,aviseo aeyvee bavors hsavoers 9% 
-eeedd Yo econo olbbim sdf  .ebie doses te etanoo seliame osidt 
~ned cdg ylno yistsnwdxcial .ezan00 bebsow es bsnatesh o19% 


sevee to itbiw s snived ,betefomos eaw Lisdesin® ,ifed teu 


~ow e*otheiis’ of goxedbs yievols exntosase ont .aexs wobain 


_  -& bEb redeem deisixh oat satoa sac ai yioO .(YTS .RiF) .eds 


ima , LAY 2 se (1 tae 


i 


288 

logsias in two stories on the middle structure of the main f 
facade; Holland House in Kensington near London (completed in 
1607), distinguished by picturesque grouping, rich and varied 
external architecture and numerous Sables; Hatfield House in 
Hertfordshire (ouilt im 1611) with splendid treatment extern- 
ally and internally. (Bigs. 375, 378). The middbe building 
of the garden facade is indeed the most magnificent show pie- 
ce in cut stone architecture of the developed Basglish Renais- 
sance. bikewise a great number of “Colleges” (page 115) in 
Gamoridge and Oxford expressly present examples of the Blisa- 
bethan style. At the entrance of the Bodleian hibrary at Ox- 
ford, Thomas Holt in 1597-1602 placed five stories of column- 
ar orders over each other, that are coupled in pairs and fla- 
nk the round-arched portal as well as the mullioned window. 
One of the latest princioal works of tbe carly Renaissance is 


of Aston Hall near Bir@ingham (1613-1685),a relatively simple b 


building, Dut characteristic for the greater number of the &. 
Gnglish country seats of this time. (Pis. 372). Besides the 


seats of the nobility and the public buildings, the citizens’ 


architecture of the early Renaissance ‘im an entire series of 
Cities is represented by works meritins consideration, iene 
in stone and in wooden construction. 

The chief master of the English hish Renaissance was Inigo 


dones (1573-1651), whom the Engbish revere as their sreatest 


architect. He was twice in ftaly for continued studies, and 
there became a zeakous representative of the tendency of Pal- 
ladio. No obher northern master entered so deeply inte his 
Spirit as Hones. His architectural activity commenced about 
1604. En the year 1615 the kins appointed him superintendent 
of buildings. Soon afterwards he designed by order his chief 
work, a colossal palace for bondon, which in a later second 


design he enlarsed into a still Sreater design. According to 


this the structures formed a rectansle 1200 x 899 ft. and we- 
re grouped around seven courts, an elonsated middle court and 
three smaller courts at each side. The middle ones of these 
were designed as arcaded courts. Unfortunately only the ban- 
guet hall, Whitehall, was cempleted, havins a width of seven 
Window axes. The structure tlosely adheres to Palladio’s wo- 
rks. (ig. 377). Only in one point the British master did n 


eS a, ee eee ay 


SS ee 


 -gbem ed tnodoustent metiesl eid to eustescot edd ai baest Jou 
et {iededidhi *® .zgefaose [exevee Yo noktenidmeo sas to san on 
asd .eesd bessoltens a svods shsoslt brow edf .asivose ows “nt 
edd Yo enmuloo issusup-oetds eieiq: websiw emai iasol edé no 
“Geqqu edt ai asiddntxe® edd to bas tewol eds ai sebht0 ofnol 
-in detesliq s 2uted ewobniw sedvo edt to sbie dose tsa .yIote 
9 eoinies wien eft evodA .eelane dtod ss enmetoo belonoo at 
-G, tor sbsoet nobhommeds a0 .ebsatendsd Sninworo s. ebastxe 
-ibext'od besedbs sonok ,(868I-268l) brotxO ai obelIoo s*adob 
-edmom Ieavsocite sat onindfoo (flite .énemesuaris edd ni sok 
~itnem od o¢ eis edtow sodto eid TO .emsokt somsestsash ai at 
to siliv semi0l eds .(O56L) ALotsoM at [{eE msdaysh -: bene 


noitos(o1q elbbim seodw .foiwaes1® to x1eq end at assup sate) 


~foo xie daéiw sisbol s otni bovioess saw yrote rs90n sad nt 
-001 bibsefqe ods dtiw (Ob8L) yaodetise at seve sotIiW :enme 
~gagddeA es Ifew es .“seduo eldwob bas edanie® sdt esx nwond on 
edg oO .yewstiste aoiecoumi ns diiw tetenimteeY of savol masa 
-t10q 8 Sfind sd aobses ds asbus? taevoy nt Ine .8 to dorwsde 
¢ asamufoo sit to ensdoe sft Soitetensas seit od ssi .oof 
-o18 dousdio of e19ig elbas base enmuloo asidtario® atiw olqmes 
eit bemesdes eew x10w Iuiidused ylaeliwoitasa s ch .sandosetd 
.e2u0H Jeausmo€ to shsost eniteixe seanel on 

-om 39H .euptfostinors to etetesm teste oz to sno esw esaok 
yd bedeifdstas eelqionita Hawes sat Hethodms yientiLadge se 
mi yttbitoe .etaibfiod Io snemtecat odd git aehx0” -: tfeenrd 
-ese 8 eew of .“slyde ni eaonneert bas iganeise ,cotsogxsen0o 
infdefidsdes of bas esesam [saetoesidows Qnitseaimob ai ved 
-eib noitieoqzib (exdostidoxs eft nt busi .enoisiogoxg odd 
bniddyseve bothiows .nofesctaxe L[enudootidois ni hodeiokard 
ee bextretorasdo esas eisow eifl .elatit bas [saxetxs viexem 
_-aedo to {fst .vtitenbivibsai orteiéas us to enoissexs beitings 
- to euparnens sd¢ to ytaiedyeo nbisievoe a dgiw sistem .yStos 


-golsveb sais at seoge1 nie boi1sq s bexspooe aéseb sid set tA 
~sevbs wee 6 ni saois Seatt ti = .eastoetidois ceiian3 to tue 
setesm Isqioniag sat .mesW asigosdaind® asdw .smis edd ts so 
witos tnidem-dooge eid seksd somesetanes etei seiiaag edt io 
F8e7R of2 oF beélis ,soResone eidd Yo enoitsero edT .y¥tiv 


ie 5 , ‘ x 2 7 ale 
Wate, > aay 7 ‘NO ae @” . < ‘ Le i | 


-emiot bas efetyetss of erotsedni: 


239 

not tread in the footsteps of bis Italian instructor; he made 
no usé of the combination of several: stories. * Whitehall is 
in two stories. The proud facade above a rusticated base has 
en the four inner window piers three-quarter columns of the 
Tenic order in the lower and of the Gorinthian in the upper 
story, at each side of the outer windows being a pilaster wi- 
th coupled columns at both angles. ‘Above the main cornice e 
extends a crownins balustrade. On the garden facade of §. 
John’s college in Oxford (1631-1635), Jones adhered to tradi- 
tion in the arrangement, still colthing the structural membe- 
rs in Renaissance forms. Of his other works are to be menti- 
ened :- Raynham Hall in Norfolk (1630), the former villa of 


jj the queen in the park of Greenwich, whose middle projection 


in the upper story was resolved into a lossia with six eol- 
umns; Wilton House in Salisbury (1640) with the splendid roo- 
ms known as the “single and double cubes”, as well: as Ashburn- 
ham House in Westminster with an imposing stairway. On the 
church of S. Paul in Govent Garden at tondon he built a port- 
ico, where he first transferred the scheme of the columnar ¢ 
temple wita Yorinthian columns and angle piers to church arc- 
hisecture. As a particularly beautiful work was esteemed the 
no longer existins facade of Somerset House. 

dones was one of the great masters of architecture. He mo- 
St strikingly embodied the ground principles established by 
himself:- “Order in the treatment of buildings, solidity in 
construction, strength and freshness in style”. de was a mas- 
ter in dominating architectural masses and in establishing 
the proportions, Srand in the architectural disposition, dis- 
tinguished in architectural exoression, avoiding everythins 
merely external and little. His works are characterized as 
unified creations of an artistic individuality, full of char- 
acter, mature, with a sovereign certainty of the Serreene of 
interiors in gaterials and forms. 

After his death occurred a period of repose in the develop- 
ment of English architecture. It first arose in a new advan- 
ce at the time, when Christopher Wren, the principal master 
of the anglish late Renaissance began his epoch-makins acti- 
vity. The creations of this successor, alléed to the sreat 


oq) ond ak: er eat sine ‘ate, eeu Fi 

| at weds ftv tsar. iekon ow a 
% nok “eseteon s8t5, pe " oF 

Pi ghe, stesaten: est) beyxolare eitone _} 


7 5 6 e Cah 4 


deco in spirit, érisinated in the! period of the Wengen by 
We shall therefore consider them in the next volume. ide 

al pater masters, john Vanbrugh, James Gibbs and) others gen 
erally employed the eolossal order. 7 , OLY bNST A 


/ 


Janes La epheth, #riginaned ie the 
Wa abalh tiavatond ooneader! bhaw de 


© ,aboe Shaner g, fore Tosdragh, Semen ative 


eealiy gepteged tte iaolgeeeh order i. 0 fy 


ree: oY He. i 
a 
J a) ee Oe 

) alg tee vines f tg Kieu 

. Cae et ie (tel) 


oni Me et 


ria i Mh 


rr, ie A 


‘ng aa vos 
pits wre .\. 


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a whe i We site 
iP tein i 


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is 


ie 7 edd (ot Geifesl sit worl Sevesq miedeorw®iHovid aseye?  .2tse 
ee 


Wed e*helrse6-1o08) susdreLen¥ddous ond ai sonseeisnsh newreo” 


as weds teted .(68E!) &tsoted nr beseoro yent sotaw (ee 
py wemes atebom io sastosdinors sila -covorss e‘asshldes o¢ 
f ~ betoe10 mente email doirG) enbdestadoied ons nt senile edt bedosed 
ae a ARN dw {SSS 1828) (286 exec) solls¥® [us9 yo 
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| teest0-2 no bsaoleveb .eecrear[eiudostinows oft io bus Snswee 

| pivemwsoedtdors ne dtiw: 183981840 to {ft .ebesed oosoisd-oise 


|“ Bpiteseraxe vibnititse. .eso10t antstaes 30 gOLTsO0idmOO wI0t aad 
: _ deom eda fidiw betnugo ed oF bas’ Stbsourse end to seoqiwe sag 


" + tee 14 : -¥%H ISO ae Cf. 949.26 atuow ssivoee Joeniwora 


Pett reese dethexe SewdvG fue9 bos nemttol oswbud Bisgiod al 

+p ents (808-868!) (pddoivegdotes) etag08 Isinsanl sas Yo ant 

._ ~didxe: bre: ‘emob yidsin « vd bedenties 918 eecesn (siwioesisors 
8 8 Reto Lom: etnsoesisore bei trish: ‘oideiereaiO beilingtbh s si 
~ aen10 st .eomsecicnss song1' odd-bus ceidsdl oad nsensed as 


e(8aSr> sitod) édoLg okuh yo fetseio aan (seer Beas lqaoo). AVSEDH. 


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-euga7d otpninsvesd sorisg barifeser ene foo etiecemod Sf To 


- -bastxe: bas -ytose rwe8wol beseoisewr © co pseae notiw .(06L sssq) 
- sigusze boa yiev 2 SV8¥ Iiesm save onl ,eeinode ond dduordt - 


bayors ‘bean07d,  aisgted te Lisi vito oad fo baiblbudetiadd as 


aaisility. ead aot hIvdiseeist? blo atts To 29~0s (aqioniza sad 


r re ons Yo Ladue edd nt Sedoo1 Sonsperenes evidsn eda ito 


a 4 Pat List act ag 
soer-oes se : ot setae tial Waba todd snobsimio® 

| polatiregtht .cotsssrgmt beneiubniseib yrev © deoub a 
MSs pABOSI“OESE) nities ae yeeloaniss to museck sis beseeat | 
| el setio tine weoneasiense dara nsilesl edt te exci seoivesd / 
ue ows lo tes x00 eid Je hovoursenoo antblivd aslworto ett at. 


. ibe ca : rahi. Al ps4 hektaq@oaos, eupeerpdolo yIeVves wiys 


“ ws ,(8OGLI-8fF £) ‘ebak. -dt8 f1g9 sevensi oh: 


ae a : se oa s sonstavet one botbaesa : oe ddiw bero: 
| or tvO if mete RN 3s bedopre :85dorsdo Isvest#bem to - 


. Kbebaens viehom 0 ris vormaee:¢ < 
ar bivtye? “ Cy a aes aN sa : 


eo" yideid fa, ata asa%98 dé 300 io evitesas 


293 


: / 
‘/) Goncert Hall in beipzig, completed in 1884 by his associate S$ 


Schmieden, that in its Hellenistic-Classistic Renaissance pro- 
duced a yery distinguished impression. ‘Herman Ende (1830-1907) 
treated the Museum of Ethnology at Berlin (1880-1836) in the 
heaviest forms of the Italian high Renaissance, particularly 
ik its circular buildings constructed at the corner of two str- 
eets. Kayser &ovonmeGroshein passed from the Italian to the 
German Renaissance in the Buchh&ndlerhaus (Book-dearler’s hou- 
se), which they created in beipzis (1886). Later they turned 
to Schliter’s parocco. Berlin architecture of modern times _ - 
reached the climax ‘in the Reichstaghaus (Diet Palace) erected 
by Paul Wallot (page 324) (Bis. 372), which=rises on an area 
450.8 x 306.1 ft. with an assured mastery of the internal tre- 
atment and of the architectural masses, developed on @ Glassi- 
stic-Barocco basis, full of character, with an architecture ‘in 
the form combination of aspiring forces, strikingly expressing 
the purpose of the structure, and to be eounted with the most 
promineat secular works of the 19 th century. 

In beipzig budwig Hoffman and Paul Dybwad erected the build- 
ing of the Imperial Gourts (Reichgerichts) (1887-1895): the a 
architectural masses are dominated by a mighty dome and exhib- 
it a dignified Classistic clarified architecture holding a me- 
an between the Italian and the French Renaissance. The Grassi 
wuseum (completed 1895) was created by Hugo picht (born 1843), 
a pupil of ¢ucae, has a highly monumental effect by its facade 
of 12 Gomposite columns, recalling palace @zernimtin Prague 
‘(page 160), which stand on a rusticated lower story and extend 
through two stories. The same master gave a very gocd example 
in the rebuilding of the city hall at beipzis, grouped around 
the principal tower of the old Pleissenburg, for the utilizing 
of the native Renaissance, rooted in the spirit of the locali- 
ty,in a very picturesque conception. 

‘At Hanover Garl Wilh. Base (1818-1902), an important revres- 
entative of norta German brick Sobhicscandsa highly esteemed 
‘instructor at the Polytechnic school, to whom adhered a wide-. 
‘ly branches school as the “German Viollet-le-Duc”. Hase rest- 
ored with thorough understandins and reverence a Sreat number 
of mediaeval churches, erected at Hanover the Provincial Muse- 
um (1853-1856) in a modern conceived Romanesque style, the Gh- 


wal 


a) 


| 
| 


mot ae na 


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-sosiq sertt edd setasooo sakolod to [sybadsseo oat to 


~aest). enoitcelioo benidmoo edt 10Ot mweag ods sduieisas® ak 


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odd ,eanrbdiiud ineniworq geow eid a0 .sonseeisns® saz Yo svit 
retain oe eosfeo won) sebedmdoS eoelsa (dfen (esesi) siisdsaces 
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ae ae ow ait 


i BEN mid -O8 Jeetsqo0o al .cocomed edt ofseids wort bas sons 
mousseat bas, tetoidgod 6: 28 beassias. ~QOCL-aSE!) astBaee S150 


i] } i a, i 


Conse asiisdl: dota ylomeasxe bos yiedate e oF enoisass 


; (298 
Christus church (1859-1864) as a cross-shaped basilica in the 
style of the developed north German early Gothic, to which the 
master and his school remained ‘faithful-for.a lons time. His 
chief work was the restoration of the Marienburg, which his p 
pupil Sdwin Oppler (1831-1900) completed, and who had also wor- 
ked under Viollet-le-Duc. 

In Cologne the renewal of the works 6or the completion of t 
the cathedral, which required an expenditure of six million d 
dollars, and was ‘regarded as a national problem for the entire 
German people, afforded particular evidence of the swelling w 
waves of inspiration for the middle ages. As the leading arch- 


sy yitects were employed Architectural Inspector Ahlert from 1824 
to 1833, and after bim on Schinkel’?s recommendation Ernest fir- 


ied. Zwirner (1802-1861), particularly important as a construc 
tor, and after his death , Bichard Voigtel (1829-1902). The 
cathedral was completed in the year 1880. The severity of the 
prevailing esthetic conception, which enployed similar masters 
everywhere, that the same structural problem was to be solved 
er indicated, led to a certain monotony, which distinguish the 
‘new postions of the structure from the older ones, created -ra- 
ther according to freer artistic views. Amons the numerous g 
great churches, which were restored and completed in the ‘19 th 
century -- there may be mentioned here only the cathedral at 
Soires by Hibsch, the minster at Ulm by Thr&n, Scher and Beyer, 
the cathedral at Regensburg by Densinger -- the construction 
of the cathedral of Cologne occupies the first place. 

In Garlsruhe the Huseun for the combined collections (1865- 
1870) erected ‘by Joseph Berkmiller (1800-1879) bears the stamp 
of a still pedantically conceived Italian high Renaissance. 
‘After hin, Arebitectural Director and Professor in the Polyte- 
¢hnie school, Joseph Dura;* also very fertile as a writer on 
architecture (born 1837), was the most influential -representa- 
tive of the Renaissance. On His most prominent buildings, the 
Festhalle (Festal pall), palace Schmieder (now palace of prin- 
ee Max), and palace of the Hereditary grand duke in Carlsruhe, 
appears a transition frem the at first refined Hellenistic ¢on- 
geptions to 4 stately and extremely rich Italian high Renaiss- 
ance, and from this to the Barecco. In contrast to him was 
Oarl Sch@fer (1844-1908), esteemed as a Gothicist and instruc- 


i us ) ‘Wntetia ete teodos otntoeretoy ois fs 1o¢ouxtant 
eke Sf edd To bne edz tuodA .dyndasl de [len ydrtereviad oad 


 giedt al .ottyreixeD ar vaivitos (exsgostitiors to bavexrzevet 
‘bie SderelisD te dovedo evteixad odd es cous .eharblivd dowdo 
“ibs esvisemont wode yods ,miedaneY se anedo§ .© to dotado sas 
<tuson09" [avesibes bendiszed vicer) bagpesoeerssoig e« To ainsts 
“19 to Soefeq) eanifiiud s¢ivose treds of vasién05 ead nO io0% 
* grebom to elaszs eds osnt ifet yeds (edwrvetsen ni sontagq awo 
es awoat [few .(608f ni0od) stimeo€ onv1a wiesdansy al .atertoe 
-of sit betssiw .(s¢osmunoy eveddtvh) eletvomeu Yo soexidoxre 0s 
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“Btostidorio LO yreteid eft wo sksou dnobsoanwd Seom ev 'anuG * 
“Seb baw ssisusdT seb fenuiuod (wefhoe id ash senwhun® isan 84 
sche sit mh Meisel nd sonmnssionsd «eb tenuwdwnd bas .senGh 
«%UTHSTIAONL 4eb how 
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ferbedsso Stdvod sft ci vlanimaaio beseers Bates .19ue8 sisd 
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jatendaase 38 asia eda ne. woanal .B bas remLfoV .G v6 


ie | a 2 “a i “a ee 


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- -bedoote\nsw sidsw to goiblied fetmonuaom seosel oat. .bstex 


299 
‘instructor at the Polytechnic school, whose principal work was 
the University pall at Marburg. ‘About the end of the 19 thc 
j2eentury the architectural firm of Gurjel & Moser stood in the. 
foreground of architectural activity in Garlgsruhe. In their 
church buildings, such as the Ghristus church at Carlsruhe and 
the church of S. Johann at Mannheim, they show themselves edb- 
erents of a picturesque andifreely designed mediaeval ‘concept- 
‘ion; on the contrary ‘in their secular buildings (palace of ‘er- 
own prince “in qarlisruhe) they fall ‘into the ranks of modern 
artists. In Mannheim Bruno Schmitz (born 1856), well known as 
an architect of memorials (Kyfthaus wonument), mreated the Ro- 
sengarten (Pig. 273), a concert and festal ‘hall, in which ‘is 
shown the transition to the newest tendency in art, freeing 
‘itself from all bistorical forms. 

* Burm?s most tmporéant works on the history of architectu- 
re are; Baukunst der Grtechen, ‘Baukunst der Etrusker und der 
ROmer, and Baukunst der Renaissance in ftalien, tn the Handod-. 
uch der ‘Architektur. oie 

Stuttgart received in the Villa Wilhelma one treated entire- 
‘ly in the Moorish style, built in 1842-1852 by Gari Dudw. Wilh- 
van Zanth (1796-1857). The Royal building (Konigsbau) design- 
ed by the Glassicist Joh. Mich. Knapp (1793-1856) and executed 
by Obr. Fried. Leins (1814-1892), is a still strongly Glassis- 
tic building, touched by the early work of the Renaissance, op- 
ening in a great colonnade toward the Schloss Place. The pic- 
turesque Protestant church of S. Johann (1866-1876) located on 
Lake Beuer, peins treated charmingly in the Gothic cathedral 
System of the best period, but without findins the ‘correct sc- 
ale for the proportion of the whole to the abundance of decor- 
‘ative forms. Joseph von Egle (1818-1899), an influential ‘ins- 
tructor in the Stuttgart Polytechnic school, erected in Stutt- 
gart the Polytechnic school (1860-1863) in an Italian high Re- 
naissance, permeated by Brench motives, and the Maria church : 
as a hall structure in the forms of the early Gothic. Skjold 
Neckelmann was the creator of the State Industrial (Landesse-. 
webbe) Museum (1890-1896), treated in a bombastic early Baroc- 
ca, whose principal room, the ‘Kins Garl Ball, ‘is showily deco- 
rated. The latest monumental building of Swabia wasAerected 
by J. Vollmer and H. Jassoy in the City Hall at Stuttsart, com- 


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_dnenrhodme edd aot has .wesiewddne oitasmot sid bowolile? 34 

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4 i / 
wrt 


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B00 
completed in 1905, which ‘in ics aadengiyea (baru en 
very well ‘into the view of the city. 

‘In Munich atbou the ‘middle of the 19 th century, Fried. Biur- 
klein (1813-1872), at the desire of the king, who wished to h 
have a new architectural style, made the attempt to fust toge- 
ther mediaevaisand antique form elements, without thereby att- 
gaining to an organic unity of style. The Maximilaneum erected 
by him on a dominant terrace as a termination of the Maximili- 
anstrassé, conceived in Gothic but translated into Italian Re- 
naissance by the influence of Semper, and the Government 8uil- 
ding (1858-1864), rather representing medaaval forms, can be 
just as little satisfactory, as the opposite Olid National Wus- 
eum, built by Edward Riedel (1813-1885). Freedom from this 
unfortunate “Maximilian style” came to Wunich architecture wi- 
the appearance of Gottfr. von Neureuther (1811-1887), a pupil 
of Gartner and a zealous advocate of the Italian Renaissance. 
His Polytechnic School there (1866-1870) is characterized by 


“/opiebturesque design and refined feeling for the treatment of 


G3 0landscape, designed by the court painter of the theatre, Chr. 


details. (Fig. 274). Phe Academy of Art (1873-1855), both in 
the arrangement of the ground plan, as well as the grand treat- 
ment of the facade and the careful erection (the facades are 

of marble) is an equally distinguished architectural work. 

Fhe accession of bouis II (1864) was important for the arch- 
itecture of the Bavarian court, in so far that the art-lovings 
young king showed from the first an unusual desire to build. 

He followed his tomantic enthusiasm, and for the embodiment 

of bis ideas @alked an architect, who possessed neither the 
power nor the capacity to guide the rich ‘endowment of the king 
‘into fruitful patas. Thus under the ‘charge of George Dollmann 
(1830-1895), a pupil of Klenze, and with the assistance of Jo- : 
seph Hoffmann: 659.40-1806),, the capricious chateaus of the Bav- 
arian king, the Reyal chateau of binderhof (1869-1878), locat- | 
ed in direct isolation in the forest of upper Bavaria, the ‘ch- 
ateau of Neuschwanstein (1869-1886), fabulous» as a theatre a 
decoration ‘changed into stone, and built in a charming ‘Alpine 


Plank, with the rich ‘internal ornamentation (Fis. 275), and 
finally the ‘chateau of Herrenchiemsee (1878-1885), produced in 
veneration of the sun king Louis XIV and imitated from Versailles. 


ft 
77 Ge nhs ‘ 
a 


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Se eo é * : ve ‘ *. 
he Pr ayy rae ei cao ay Go ee a 


%o 


— B01 
Likewise in the art of the citizens of Munich was expressed 
the inclination of the character of the people toward picture- 
sgue treatment, Meanwhile and under the influence indeed of 
the ‘“old German” art industries enjoying high esteem in Munich, 
for which George Hirth had opened the way in literature with 


his “Formenschatz der Renaissance” and his “Deutschen Zimmer”, 


this had turned to the German Renaissance with its pictures- 


gue groupings, bey wiydows, gables and small towers. borenz 
‘€edon (1843-1883), highly Sidted as architect and also as scu- 
‘lptor, aroused very great attention to this by bis rebuilding 


of the Gallery of count Schack (1872-1874) in an extremely ri- 
ch and freely conceived German Renaissance. Gedon later devo- 
ted himself entirely to the decorative arts. ‘His exuberant i 
imagination soon found the way to the Barocco and the Roecece, 


for which he preparedithe ground by his influence in architec- 


ture. The middle ages further celebrated a revival ‘in Munich 


‘in the city hall erected in 1867-1879, (Pig. 276). In the con- 


petition preceding it, Georse Hauberissen won the victory (bo- 
rn 1841), who had educated ‘himsel in the Munich, Berlin and Vi- 
enna schools (there under Schmidt, page 333) for great ereati- 
ons, chiefly by his design claculated for victuresque ‘effect:* 


>/ The most amiable and intellectual later representative of the 


German Renaissance in a deeper but freer conception is Gabriel 
Seidl (born 1848), All bis works are very effective im gener- 
alypoindividueboinidetails, dignified and attractive by the har- 
monious decoration. His monumental church of S. Anna at Muni- 
ch (dedicated 1893) is treated in the southern German Romanes- 
que style, the Kinstler (Artists’} House is in externel appear- 
ance in Serian Renaissance, but the great hall is splendid in 

a treely transferred early Italian Renaissance, treated with 
refined feeling. Gabriel Seidli’s HOSt important ouilding is 
the (New) National Museum (1894-1900). In the design of the 
structure and the treatment of the interiors, in which the na- 
tive art was to be represented, where style conditions are in- 
deed in place with regard to their historical presuppositions, 
Seidly showed himself a distinguished eclectic of refined feel- 
ing. Hor each connected group according te place and time, he 
created @ corresponding interior, which was elso characterized 
as such externally. The different parts of the building are 


jolaul ai bodit0w (ager hes) ivershatl aieneie. ibie? asbtees 
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 .dostte Istasnv now yiteid bas lata ya to e1esou7ts oooo1ah 
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ta fToe opie sti no bewods wiscisasacxs yeu sh Aoitta oonde 
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~se8¥ od¢ ya Hoteoro sew (OTS .gi%) ({693F-s88r) (isd (a1e0n09) 21 


to Lettaso fstsbet sit at .t9emf98 bas renife® erosaidors sa 
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. “$88 siz to sivtea sosisg sattnotol? aft. at (shofdsaes sreshaua) 
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aovisstasastass to Ifed odt gutatetioo, mote100 ofbbim gaiaod 

, tewol botsotraur evigass 8 evods wot telwontotass mt atostorg 
wd bode lt .anneLoo to tebr0 stisoqmoD Isegoloo a dain .crote 
~of off Videri Ratttimbs tot sm0b 6 vd bstsvyoo baa e1ew0t ont 
‘daid one yiase saténeroll ofd ssowisd meem s 2t saomtsend mr 

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DY etedd Saiseixe elude odoo1sd off oF beat 
) ema to suomsseas Laatzias hi franee ‘Wiwsaso ds Sf et ‘Yo 


Cre 


302 

picturesquely combined in an unconstrained manner. (Pig, 277). 
Besides Seidl, Friedrich Thiersch (born 1852) worked in Munich, 
who in his colossal Palece of Justice (1891-1897) erected a B 
Barocco structure of dignified end highly monumentel effect. 
Since the end of the 19 th century came into use a citizens’ — 
and cheerfully attractive Barocco, which by a series of archi- 
tects of modern idees has been transformed in the modern spirit. 

* Hauberisser was otherwise en adherent of the @erman Renats- 
sance, whieh he very expresstvely showed on his city hall at 


Wiesbaden. 


The architecture of SWITZERLAND received a great advance th- 
rough Semper (page 332). The Italian Renaissance entirely dom- 
inates the field of work, oftén with a Barocco addition showi- 
née itself in the ornament. On a great number of banks, commer- 
cial and residence buildings, it came into use, pertly in a w 
monumental treatment. In Zurich the Northeastern Railwey sta- 
tion (Fig. 278) erected by J. F. Waner permits the direct rec- 
ognition of Semper’s influence. The Neo-Romantic is only rep- 
resented by & prominent work in the picturesque Landes (Natio- 
nel) museum (1892-1898), built by Gull. The magnificent Ton 


32. (concert) hell (1893-1895); Fig. 279) was created by the Vien- 


na erchitects Pellner and Helmer. In the federal capital of 
Berne, Studer built in 1857 the pe@eral Begislative Building 
(Bundesratsgeb¥ude) in the Florentine palace style of the ear- 
iy Renaissance. From 1894-1902 it was enlarged into a design 
of grand style by the Sifted Hans Auer (1847-1906) a pupil of 
Semper and assistant of Theophilus Hansen (page 804). The in- 
posing middle portion,containing the hell of representatives, 
projects in semicircular form above a massive rusticated Tower 
Story, with a colossal Composite order of columns, flanked by 
two towers and covered by & dome for admitting lisht. The fo- 
fm treatment is a mean between the Florentine early and high 
Renaissance, and is very happily edaptedjto the earlier build- 
ing. It lends to the palace, enthroned majestically above the 
deeply sunken velley of the Aar, an extremely dignified impres- 
Sion. in the most recent time the architectuee of Berne hes 
turned to the Barocco style, existing there in numerous works . 
of the 18 th century, which by original treatment of the deta- 
iis, and particularly by the Sreat projection of the roof pec 


} &0& 

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as sx 10% aveaud asisseud 963 lo agarelind sak .stds0d 


303 

peculiar from ancient times to the houses of Berne, and has e 
experienced a national transformation. 

“Phe imperial AUSTRIAN city of Vienna became an important cen- 
tre ofzart culture in the second half of the 19 th century. Ff 
The fortifications, that surrounded the old city and thus obs- 
tructed a free development of architectural activity, were to- 
rn down (after 1858). In their places originated the Sreat 
Ringstrasse, on which rose one magnificent structure after an- 
other, After the middle of the century, Edward von der Null 
(1812-1868) and August von Siccardsburg (1813-1868) by their 
joint lebors broke out a freer path. On their principal work, 
the Grand Opera (1861-1869), which opens in a doubled logcia 
to the Ringstrasse and is richly treated in the external arch- 
itecture as well as the internal decoration: they employed the 
forms of the developed Italien and Prench early Renaissance in 


- happy combination. But the direction struck out by them exci- 


tea no great imitation. In the year 1846 the Bane, Theophilus 
Hansen (1813-1891; page 304) came from Athens for-a permanent 
residence in Vienna, where he erected the University in 1837- 
1842 in the Classical style (in 1860 be built there the Acade- 
my of Sciences in the style of the Parthenon). There he beca- 
me the creator of the immense Rarliament House (1874-18883), 
which is built on an entirely symmetrical ground plan 531.5 x 
459.3 ft. in a Renaissance style, which by a cheerful and ext- 
renély attractive Hellenism, particularly on the porticos of 
the middle and angle projections, receives an independent sta- 
up. Hansen was aiso an eciecticist. The Museum of Arms at t 
the Arsenal (completed 1856) and the Greek church on the Flei- 
schmarkt (1858), he treated in @ picutresque Byzantinesstyle 
approximating in details to the Hellenistic series of forms; 
on bhe Academy of Art (1872-1876) and the Bourse (1872-1877) 
he transferred his fellenism to the Italian high Benaissance. 
While Hansen alterwards brought the Classicism into high con- 
sideration, Heinrich von Ferstel (1828-1883) represented the 
Romantic tendency. His Votive church (Fig. 280), erected 1856- 
1879 for the sin of the attack on the emperor, is indeed the 
mest mature German church building of the Neo-Gothic. Ferstel 
saw his strength more in the Italian high Renaissance than in 
Gothic. The buildings of the Austrian Museum for Art and Ind- 


dose) aia’ (838i-h8f) etretovicd odd bas (LTSI-298!1) vasanbal 
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tel ‘bai bas mid’ beaoqdo Ltme Le tv oon Asviw eids Attn: 


304 
Industry (1868-1871) and the University (1874-1884) are each 
distinguished by a very beautiful arcaded court, and exbibit. 
the Italian high Renaissance in a noble and powerful treatment. 
(Pig. 281). More severe than Ferstel in acceptance of Gothic, 
Fried. Schmidt (1825-1891), came from Wurtembers, was trained 
22410 the workshops of eolosne under Zwirner, and from 1862 estab- 
as cathedral architect of 5. Stephen in Vienna. In the extre- 
mely picturesque Parish church at Finfhaus near Vienna (1867- 
1875), he erected an octagonal central structure with a great 
dome and two front towers in Rhenish Gothic. (His. 282). His 
principal work, the City Hall in Vienna (1872-1883) is in its 
way @ model creation, by the splendid design od its ground pl- 
an, finely satisfying the requirements of a good administrati- 
onsand by the Renaissance motives happily combined with Gothic 
architecture. 

The architectural activity of the imperial court was contin- 
ued in the paths previously sketchéd by Semper (page 322). Wh- 
en Semper came to Vienna, the ground plan of the K. K. Court 
Muesum had been designed by GarknvonrHasenauer (1883-1894), 
working there besides the masters just mentioned, who had rec- 
eived his training.in Brunswick and Vienna, thea undertook ex- 
tended tours Parough Italy, France, Holiand and England, and 
in Vienna at the beginning of the sixties had made himself con- 
spicuous by some secular buildings, that caused much surprise. 
A vielent contest broke out concerning its plan and architect- 
ure, in which Semper was required to make the decision. He 
subjected Hasenauer’s plan to a revision, and with the collab- 
oration of Hasenauer, he prepared a Srand general plan, in wh- 
ich the Hotburg theatre should occupy a prominent place. He 
gave to this the form of plan, which he had projected for the 
unexecuted Richard Wagner Pestival Hall at Munich. Semper was 
further engaged on the structure of the Gourt Museum (begun in 
1872). The facades {Figa 283) recall the Dresden Gallery of 
Paintings, but already show @ transition to the Italian Baroc- 
co style. The Hofburg Theatre was executed in 1880-1886 by 
Hasenaver alone, since Semper would no longer work together : 
with this rival, who violently opposed him, and had left Vie-. : 
nné in 1876 (page 328). Both in the external architecture as 
well es in the splendid interior decoration of this theatre 


Wet py iti arc eb gnoits bozaeasca seeltduob 1eusneesh = .auoniwoue 


a 
F; oi > on saomsesrs (acasmocom eee eas ul ted wWaolas 


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805 
(@ig. 284) was manifested the complete transition to Barocco 
Showiness. Hasenauer doubtless possessed strong decorative 
talent; but in the grand monumental treatment he remained in- 
ferior to the previously mentioned masters. In the most rece- 
Jj;nt years Otto Wegner (born 1841), an architect educated in Vi- 
enna and Berlin, stands at the centre of architectural creati- 
Oh in Vienne. But his activity and that of bis numerous pupi- 
is and adherents belongs substantially to the modern tendency 
in art, as the principal founder of which, Wagner is to be ta- 
ken. (Page 366). 
bikewise in the Hungarian capital of Budapest, architecture 
in the 19 th century in evident competion with Vienna assumed 
an unusual advance. Numerous churches and secular buildings 
were erected and indeed during the first half of this century 
entirely within the bounds of Classicism. bater the architec- 
ture in seneral took a development similar to that in Viennt. 
The most prominent representative of the Neo-Renaissance was 
Nicolaus Ybl (1814-1891), educated in Vienna, who erected the 
cathedral of S. Stephen, begun (after 1868) by Joseph Hila ¢ 
(died 1764), and the Opera House (1879-1884) in the most flatu- 
re ano luxurient style of the Italien high Renaissance. On t 
the more important of later works, the Parliament House erect- 
ed(after 1882) in colossal digensions by Emanuel Steindl (Fis. 
285), the architecture of Budapest returned to mediaeval forms. 


2. ‘France. 

The change from the Classistic bounds retained by the Empire 
style occurred at the beginning of the thirties. Already Per- 
cier, although he recognized Grecian architecture as a perfec- 
ted model, had recommended Bor France the architectural forms 
of the Italian Renaissance as better adapted to the climate a 
and the requirements of the country. But also the native art 

({,0f the past found an increasing interest. By Jacques Felix | 
Duban (1797-1870) in rebuilding the Ecole de Beaux Arts, rem- 
ains from the French late Gothic and Renaissance were utilized 
with great reverence and refined taste. * The chateau at Blois ; 
(volume 2, pages 156, 264) and the Gallery of Apollo in the b 
Leuvre (page 93) owe to him their intelligent restoration. The 
gifted Henri babrouste (1801-1875), pupil of H. Lebas (page 


fas itis bo ois a ones peas Riseatd bled (£48 
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306 
253) held himself entirely free frem the classical restraint. 
He devoted marticuler attention to iron construction. At his 
bibrary of S. Genevieve (1840-1850), he covered the great read- 
ing room in a manner forming a model for the purpose, by @ sys- 
tem ef low domes resting on slender cast iron columns. Each 
dome has at its vertex a great glazed circuler opening as as. 
skylight. The facade bears the character of an early Italian 
Renaissance. The ground story has only a simple round-arched 
doorway and small round-arched windows; above the belt cornice, 
ornamented by sSarlands, the upper story rises with a subdivis- 
ion by a continuous series of Sreat round-arched windows, wal- 
led up in the lower half, whose intermediate piers like wall 
strips stand on the belt cornice. bhikewise the new reading h 
hall of the National Library was rebuilt in 1850-1855, and is 
constructed in a similar manner. Joseph Duc (1802-1878), a p- 
pupil of Percier, was rather inclined to a Classistic-Grecian 
severity. His rebuiiding of the Palace of Bustice at Paris, 
besun in 1859 (Pig. 286), was partly destroyed by fire in the 
revolution of 1871, but was again restored later. To the same 
tendency belongs Hittorf’s last great work, the Northern Rail- 
way station at Paris (1883), which by the grand iron construct- 


®) Sion over the hell 229.7 ft. wide, and by the facade opening in 


colossal rownd arches,as well as by its covering by doubled 
Tonic pilasters with a connecteng pediment of gentle rise, pro- 
duces almost a modern impression. 

* The view frem the court ef the chateau of Anet reproduced 
in Pig. 808 of volume 2 (page 261) was trensported by Duan te 
Paris.. 

To these works of the early Neo-Renaissance the adherents of 
the Neo-Romantic tendency opposed the Gothic. The forst of t 
their larger buildings was the church of S. Clotilde in Paris, 
1846-1857), erranged ‘as a basilica with two pointed front tow- 
ers, that Franz Christian Gau (1790-1853) from Cologne commen- 
ced in an early Gothic, yet timid treatment, and Theodore Bal- 
lu (1817-1885) completed in already more meture forms. The 
Neo-Gothic received a deeper tendency in the works of the imp- 
ortant dean Baptiste bassus (1808-1857), who was a pupil of L 
Babrouste, but then turned from the Renaissance and became a 
passionate advocate of the Gothic. The highly sifted Viollet- 


TOS 

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307 
le-Duc (1814-1879) joined him, just as a distinguished learned 
wan, who investigated the middle ages in an exact and csienti- 
fic method, as well as a talented architect of unusual creati- 
ve powers. The magnificent restoration of the S. Chapelle (af- 
ter 1838) and of Notre Dame cathedral (after 1842) in Paris, 
(volume 2, pages 100, £02), for which bassus had previously 
prepared plans, are his work, Of his numerous other works of 
restoration, that of the castle of Pierrefonds (volume 2, page 
156) stands in the first rank. The very harmonious court of 
the castle (Pig. 287) shows, how deeply the master had penetr- 
ated into the spirit of the middle ages. He prised the origi- 
nality and stylistic correctness of the Gothic, but demanded 
particularly not a mere imitation, but a thorough grasp and b 
basal working working out of the architectural problems, with 
an independent employment of historical forms. By his numero- 
us publications, which form a very valuable basis for the stu- 
dy of the Gothic church and secular architecture, even if we 
can no longer accept his decisions on all peints, Viollet-le- 
Buc has created the greatest and most enduring influence. eon 
Vaudoyer (1803-1872) joined Lassus and Viollet-le-Buc as a rep- 
resentative of the mediaeval treatment of forms. He had rece- 
ived a Classistic training, but had then passed over to the G 
Gothic. On his cathedral at Marseilles (after 1855), a three 
eisled cross plan with semicircular choir, outer aisle and cir- 
cle of chapels, a great dome over the crossing, two small dom- 
eS ower the cross arms, and two front towers above a portico, 
he indeed resorted to southern French Romanesoue forms with 
the use of celiored materials, that recalls the buildings of t 
the Pisan school (volume 2, pages 15, 50). In the second half 
of the 19 th century and under the government of Nepoleon III, 
who endeavored by zealous fostering of commerce and industry, 
sciences and arts, to strengthen ané increase the esteem for 
the crown, a series of grand architectural problems fell to 
the French architects. By their excellent training in both c 
construction and the treatment of forms, they atouired a posi- 
tion dominating almost the entire architecture of the WestThe 
introduction of iron into monumental architecture made greater 
advances. Victor Baltard (1805-1847) erected in the colossal 
Gentral Market Halls in Paris (1852-1874), calculated for 3000 


ty ad ee . “es a ae ae ; 
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308 
sale stalls, a glass palace constructed or iron and glass abo- 
ve @ brick base, ea mgdel for the European continent. * In a n 
novel and bold ganner he then introduced the iron construction 
with an additjanal prominence in his fine church of S. August- 


ine in Paris (1860-1868). On the site given by two diverging 


streets, widening from the faeade to the choir, he arranged in 
& very happy manner a basilican nave with side chapels of ever 


“gincreasing depth, and in addition thereto a great central area 
0B an irregular octagon with three side apses and chapels. The 


construction followed as an iren framework in combination with 
stone. The vertical supports are executed in cast iron, the 
vaults and ribs, as well as the pendentives, the dome and the . 
lantern, are of wrought iron. For the ornamentation Baltard 
borrowed the decorative forms of the stone architecture of the 
early Renaissance. Thus he was not so far advanced, as to gi- 
ve to iren independent forms developed from its metallic char- 
acter. 

* 4 crystal palace had already been buttt in London for the 
Woriad’s Exhibttion of 1861. 

As @ ehurch architect, the previously mentioned Theodore Bali- 
lu (page 337) enjoyed high esteem at that time. His principal 
work, S. Trinite at Paris (1861-1867)in the two story facade 
With middle tower rising above three round-arched portals, ex- 
hibits an early Renaissance, which in the window treatment and 
triferium adopted many motives from the Romanesque style, but 
also in the numerous breaks in the cornices and the niche arch- 
itecture some of the late Renaissance. Baliu designed and had 
charge, together with Pierre Joseph Beperthes (1833-1898), of 
the rebuilding of the City Halli in Paris(volume 2, page 258), 
where the ancient plan and structure in Seneral was retained... 
fhe very rich external and internal architecture acquired the 
character of the developed early Hrench Renaissance. 

Fhe architecture of France in the second empire is indeed 
gost strikingly characterized by the Grand Opera in Paris. To 
obtain designs for a new opera house, a competition was order- 


ed in 1866. The prize was won by 8 pupil of bebas (page 253), 


Sharles Garnier (1825-1898). In his design he had not only ex- 
pressed the purpose of the building by indicating rooms for a 


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C39 


v 


308 
access, the audience and the stage rooms, even externally in 


a happy manner, but he had also created an architecture inter- 
mediate between the Italian high Renaissance and the style of 
Rouis AIV, which was received by the most lively approval by 


yp the deciding committee. Already bhe facade had an extremely 


showy effect. It is arranged with seven axes, the two outer 
ones being treated as projections. Above the ground story op- 
ening in round-arched doorways is arranged a loggia occupying 
the entire width, with coupled columns after the style of the 
Venetian high Renaissance, a massive crowning cornice, and a 
high attic, indeed not fortunate in its proportions, over ri- 
chly decorated by ornamental and figure ornamental work. The. 
polychrome treatment by the use of red Jura stone beside white 
and Swedish marble, and also partly by gold, even heightens t 
the truly unexpected effect. In the interior, particularly t 
the stairway (Fig. 288) and the foyer are showy interiors aln- 
ost unequaled, which gave to the French court and the disting- 
uished Paris worid assembled there, a striking background. Tf 
Fhe comple rion of the building externally followed in 1867, in 
the interior in 1875. On the Theatre and the Casino at Monte 
Carlo, Garm@er. produced a still luxuriant Barocco, but one re- 
strained within fixed bounds. 

fhe most important Paris church building of this time is the 
Bxpiatory Church of Sacre Coeur on Montmartre, on the basis of 
a competition, which fell to the architect Paul Abadie (1812- 
1884), who worked on Notre Dame under Viollet-le-Duc, after 


1874 had independent charge of its restoration, and had puilt 


in southern France (Angouleme, Bordeaux) some Neo-Romanesaque 
churches and city halls. The ground plan has the form of a G 
Greek cross with a great choir aédition,in accordance with the 
cathedral system, and a deep porch. Over the crossing rises a 
dome. 262.5 £t. high; aboweithe chapels in the angles of the cr- 
oss arms rise four smaller subordinate domes. In the plan and 
the architectural treatment, the southern Frence Romanesque 
style here celebrates a magnificent resurrection, as it had b 
been particularly developed in the domea@ churches of Aquitaine. 
(Volume 2, pages 18, 44). SubsSestions from the Romanesque st- 
yle may also be recognized in Palace Trocadero, erected for t 
the World’s Exhibition of 1878 by Gabriel Bavoud (1823-1881), 


rs ‘i chi 


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310 

and Jules Desire Bourdais (born 1885). The. principal building 
projects between to square towers in a Sreat sehicircle with 
colossal arched windows between buttresses, toward the bank of 
the Seine, surrounded by en open two-story round-arched coggia. 
Freely developed from the requirements with an assured feeling 
foo the effecirof the masses, the design is executed in a pla- 
in combination of bricks and cut stone, and it should still be 
taken as a model for similar structures. Davioud had later in- 
troduced tee Barocco style of Louis XIV on his frequently imi- 
tated Theatre du Chatelet on Place Ghatelet in Paris. Otherw- 
ise the architecture of the republic remained in an enterpris- 
ing spirit, evidently behing that of the preceding second emp- 
ire. Among the later architects Leon Ginain (1828-1898), a pu- 


‘pil of Labrouste, and Paul Sedille (1836-1900) made a name, Gi- 


Ms 


nain with the church of Notre Dame des Champs and the rich pal- 
ace (Museum) of the duchess of Galliera; Sedille with bis sho- 
wy structures for the World’s Exhibitions of 1878 and 1889, a 
and the great Magasin du Printemps (department store) (1881),. 
on which iron construction enters into e fortunate combination 


With stone. An entirely novel type of structure was erected 


by Gustave Riffel (born 1843) in the well known Eiffel Tower 
for the World’s Exhibition of 1889, 984.3 ft. high and entire- 
ly constructed of wrought iron. This colossal iron framework 
merits our recognition on account of its originality, consist- 
ent form and construction, and also a certain beauty is pecul- 
lar to it, yet @ grand monumental effect can scarcely be attr- 
ibuted to it. Yet the Biffel tower gave a powerful impulse to 
the endeavor for a new and “rational” style, independent of h 
historical forms. But the leadership in the movement with th- 


is aim, and already powerfully aroused at the beginning of the 


nineties and extending over the entire West, was then taken by 
German architecture. 2 


3. England. 
The freedom of English architecture from the fetters of Hel- 
lenistic Neo-Classicism was secured in the second quarter of 
the 19 th century. Indeed a series of ‘important architects re- 


mained faithful to the antique ideal of art; they sought by s 


Suitable transformations and greater adaptation to modern arch- 


ltectural requirements, to retain for this its previous impor- 


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importance. But the Renaissance introduced by them could not 
advance against the strons mediaeval current. The greater har- 
mony of the Gothic architectural monuments with their natural 
surroundings, their self-evident structural principles, oppos- 
ition to the entirely decayed Classicism, and not least the G 
German nature expressed in Gothic art, gave to its adherents 
& successiul power of conviction and a great superiority over 
the Renaissance. 

The Neo-Gothie required a longer veriod of development to r 
reach its climax. Men began unconsciously with the most stri- 
king motives, according to @well known general principle rep- 
cated in our previous statements, which were offered by the 1 
latest Gothic of the Berpendicular style (volume 2, pages 111, 
1138); then in the evolution they went further back to the ear- 
ly ethic, and from this slowly forward again until the Perpen- 
dicular style was reached, which as in the Elisabethan and Ja- 
cobean time (volume 2, page 327) was finally mixed with the 
forms of the Renaissance. In the first stage of the Neo-Goth- 
ic style frequently resulted a direct of still Classistic str- 
uctural framework in a Gothic exterior. That elso entire med- 
iaeval plans were imitated need not cause surprise. * Graduel- 
ly under the influence of several important literary publicet- 
ions on mediaeval architecture was built up a deeper underste- 


2/2 nding of the Gothic architectural organisa. Among these publi- 


cations those of Augustus Pugin (1762-1832) and of his son Av- 
gustus Welby Pugin (1813-1852) take the most important place. 
The younger Pugin (page 312) became the actual path-breaker of 
the English Neo-Gothic. He commended the Gothic style as not 
only the sole one available for chureh architecture, but also 
that most suitable and disnified for secular erchitecture. 

* James Wyatt (1748-1818) erected about 1807 in Salisbury the 
chateau of Fenthiil Abbey tn the form of the plan of a Gethie 
monastery. It theredy found sueh approval, thet a great numb- 
er of neblemen’s seats were built in the same Style, 

After the middle of the 19 th century the aims and the style 
tendencies became clarified. The Romantic movement had previ- 
ously introduced a mighty religious exaltation as a reaction 
against the rationalism of the preceding centary, representing 
reason in religious opinions. The consequence thereof was a 


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312 : 
close approximation to Catholicism, which even led to the adop- 
tion of a solemn altar service and of processions. * Under the 
high church feeling of the time, church architecture made an 
unusual advance. But also to secular architecture was devoted 
public interest in increased measure, efter the grandly intel- 
lectual John Ruskin (1819-1900) in his writings on the format- 


*/4 ive arts, with unsurpassed eloquence had treated the meaning 


of architecture, its nature and its aims. Ruskin unlike Pugin, 
did not see in the English late Gothic the only saving art! he 
was also enthusiastic for French and Italian models, particul- 
arly for the rich splendor of the marble incrustations and mo- 
saics of Venetian buildings, indeed chiefly on account of the- 
ir poetic harmony and picturesque charms, for which Ruskin fi- 
rst spoke. He was a zealous champion of all hand wrought end 
personally treated art, free from transfers like patterns. Ph- 
us Ruskin on the one hand opened to English architects views 
of the architecture of foreign lands, whose forms brought enr- 
ichment to them, and participated in their problems, even in 
competitions; on the other hand he aroused ‘in them & particui- 
ar esteem for genuineness of materials, solidity and visibili- 
ty of the construction, and the correctness, Simplicity and 
naturalness of the architectural and ornamental treatment. 

* The tnfiuential younger Pugin passed over to Catholiciem 
tn his religious enthusiasm. 

Favored by the economical improvement occurring after the 
sixties, English arthitecture now took on a free development, 
independent from foreign countries. Church architecture for 
the reasons previously mentioned adhered to the altar service. 
and the form of plan ef the medieeval works intended for sol-. 
ein processions. For the small and often truly picturesque p 
parish churches, the buildings designed by Pugin became typic- | 
al. He preferred the three or two aisled basilicen plan with- 
out galleries, with ea deep rectangular choir, visible framewo- 
rk of the roof, a front tower on the longitudinal axis, and w 
with entrance by a side porch. The Protestants wer disinclin- 
ed to the ritual solemnity and firmly adhered to their strict 
conceptions -- these were chiefly the sects of Galvinistic Pr- 
esbyterians, Gongeegationalists (Independents), Baptists and 
Methodists-~ also expressed their opposition in hheir religious 


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. 


’ & §. 


313 
buildings. They erected houses for preaching with exclusive 
regard to the greatest possible number of seats in an arrange- 
ment, such that from each seat one could properly see and hear 
the preacher. Around the great audience rooms were grouped o- 
ther rooms for use by the community; a sgaller assembly hail, 
perhaps also a school room, a reading room, library, smaller 
rooms for the clergy and the administration, and in more exten- 
ded plens even a gymnasium, concert Pall, conversation hall a 
and the like. The possibility of connecting rooms by the ins- 
tallin. of sliding partitions was from the first taken into 
consideration. For the construction was chiefly employed Go- 
thic, but also Renaissance, occasionally alse Barocco, and not 
seldom purely structural forms. 

In secular architecture English architecture differs from t 
that of the continent substantially only by the freer handling 
of historical forms of styles. Innovations, such as the intr- 
oduction of iron as a structural material might have caused, 
Changed the structural framework but little. But these appea- 
red so much the more in the sreat city business structures. fT 


.SThis entirely freed itself from tradition and constructed the 


walls enclosing the rooms and their openings exclusively acco- 
rding to the requirements of the business. (Figs. 292, 349), 
Bnglish erchitecture preceded that of the continent in this. 
Still wore was this the case in Howse architecture. The expr- 
essea domestic sense of the Englishman, who even in modest con- 
ditions strives to own his own home, the generally great pros- 
perity of the citizen class, and the enjoyment developed thro- 
ugh many Senerations, of a certain pure domestic comfort has 
leo here for centurées to 4 high domestic culture. This inde- 
ed in the residences of the class op owners, during the-supren- 
acy of Palladienism and of Neo-Clessicism, caused many sacrif- 
ices in the arrangement of the ground plan and in the structou- 
re for the benefit of the external architectural treatment. 

But in the architecture of the citizens, which was less affec- 
ted by the changes in the grand architecture, these were expr- 
essed the more clearly. To them was devoted the attention of 
the house architects, after the requirement to build in “full 
style” in the former Classistic sense was set aside, and men 
had broken out @ path for an appropriate, genuine and comfort- 


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comfortable, and thus a “habitable” mode of building. The ad- 
vantages of the plain citizen’s houses were then recognized, 
that had remained in great number, particularly from the reign 
of queen Anne (1702-1714). * In their picturesque arrangement 
in the green of the garden, in its structure developed only w 
With regard to the requirements of space and light, with the . 
cosy end inviting bay windows between the red brick walls, the 


, connected rows of windows, the plain white window enclosures, 


the shadows of the projections of the roof, and the massive w 


chimneys, these arouse the highest admiration. In reference 


to them the English architects after 1860 developed the modern 
type of the house for a single family. They save it a very f 
free arrangement of the Sround plan. On the very modest exte- 
rior is strongly emphasized the rural character in the struct- 
ural material and the treatment of details. The charm of the- 
se buildings substentially consists in, that in their entire 
appearance they express the suitability, comfort and truth of 
the internal arrangement. (Pig. 289). bikewise in the dnteri- 
or decoration the reform aimed at simplicity, propriety, genv- 
ine materials and workmanship, finally under the lead of the 
celebrated William Morris (1834-1896) extended to all ert ind- 
ustry. By bim Baglish architecture acquired a determining in- 
fluence on the entire domestic architecture of the continent. 
Indeed on the buildings also erected by the extensive contrac- 
tors in English cities for rentel, a lack of taste appeared 3 
just as on the continent. But the tasteful séneral appearance 
presented by the architecture of Ensland in the second half of 
the 19 th century was but immaterially influenced. 

* Toe this citizens’ style ef architecture has been given the 
neme of @ueen Anne style, but tt must not be overlooked here, ~ 
that the queen ‘herself caused ail the lerger public buildings 
to be erected in the Palladian style. (Page 204), 

The greatest English architect in the first half of the 19 
th century, Sir Charles Barry (1795-1860), was an artist natu- 


re allied in spirit to the German master Semper by his power 


in monumental treatment. Already in the thirties be left the 


monotonous Hellenism for the introduction of the Italian hish 
Renaissance. His Traveler’s Club House erected in 1830-1832, 
on which is visible the influence of palace Pandolphini, and 


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B15 

the facade of the Reform Club House (1837), influenced by the 
palace Farnese in Rome, are the earliest London buildings of 
the Neo-Renaissance. Its first representative also became the 
greatest Gothicist of his time. It was in great part to be a 
ascribed to the influence of Pugin, that Barry’s most import- 
ant creation, the famous Parliament House in London! (completed 
1852) and erected on the bank of the Thames, was built in the 
Gothic style. Barry proved himself & master in this, who dom- 
inated the prescribed mediaeval series of forms with astonish- 
ing certainty, but also in free creation sought new forms of 
treatment. The design arranged in a clear ground plan in col- 
ossal dimensions is grouped unusually well, in seneral with a 
grand end monumental effect, (Fig. 290), and in details posses- 
sescbbe highest artistic charm (Figs. 291), in spite of a cert- 
ain monotony produced by the strict employment of the merpend- 
icular style with continual repetition of tracery and of the 
seamecform of windows. Equally stately in the smallest details 
is the effect of the interior executed in the same style, even 
if in regard to symmetry, the often excessively larse halls a 


“,) and rooms partly suffer under en overloading with architectur- 


al and decorative forms. W. Pugin also took part in the treat- 
ment. His thorough acquamntance with the mediaeval conception 
or art and world of form, and the depth of his invention are 
expressed in a purity of style, that accurately produces che 
‘impression of Senuineness. 

A freer tendency, partaeubarly drawins from French Gothic 
sources, was followed by George Edmund Street (1824-1881), Ba- 
rry’s pupil, on his churches and his most important secular 
building, the baw gourts in Bondon (1867-1682), on which he m- 
made Sreat sacrifices to the picturesque effect of certain mo- 
tives, particularly the small round aggle turrets, the trifor- 
iums and the grouped windows. Infinitely more severely proce- 
eded (ir George Gilbert’ Scbtt (1811-1878), Bneland’s most imp- 
ortant early €othicist and church architect of the 19 th cent- 
ury. He was the restores of the cathedrals at Bly, Hereford, 
‘Bxeter, bichfield, and the Westménster Abbey church in bondon 
(Volume 2), and the builder of the great cathedral in Bdinbur- 
gh, a three aisled eross besilica, as well as ef the church of 


y othe a ives ebb inl edt 498 ts) ocean. doin toiad bsai 
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316 

5S. dobn at Torquay, on which under Ruskin’s influence he comb- 
ined brick with marble after the Italian style. In the gener- 
al competition for the rebuilding of the church of S. Nicolai 
in Hamburg, burned in 1842, he obtained the victory; this chu- 
rch was erected in 1846-1863 after his plans. William Butter- 
field (1814-1900) gave a variegated animation of the surfaces 
by colored tiles and stone slabs to his buildings, among which 
the church of All Saints in Margaret St., London (1849-1859), 
first erected strictly in accordance with high church regquire- 
ments, and Keble College at Oxford, were much esteemed. John 
L. Pearson (1816-1897) soughtrrather to produce an earnest ch- 
urch harmony and antique effect by simplicity and purity of 
Style. He employed brickwork without stucco and introduced v 
vaulting instead of the previously visible framework of the o. 
roof, or of the gezbing sheathed in tunnel form. His most. im- 


¢,¢° bortanteworks are Trinity church at Westminster {after 1850), 
- entirely following old EnSlish models, the Sreat five aisled 


church of S. Ausustine in Kilburn in Bondon (1871- nite and 
the Srand cathedral at Truro begun in 1880. 

Since the eighties the more important church architects pas- 
sed from early 6othic to high Gothic and the Perpendicular st- 
yle. At the same time became apparent an increasing attention 
to the audience room proper. John Sedding (1837-1892) gave a 
wide aisie to the Trinity church in Sloane St, and on the -con- 
trary arranged the side aisles as merely narrow corridors. * 
He proceeded with greater freedom in the historical forms. His 
giftec pupil 4. Wilson followed him in the way pointed out, ib 
but went farther in the capricious employment of historical f 
forms. His picturesaue church of S. Mark at Brithdir may also 
be regarded as a modern work. ‘An exceptional position in Eng- 
lish church architecture was taken by Westménster cathedral i 
(R.C.§ in london, erected since 1895 by John F. Pentley (1839- 
1802) for Catholécism, elevated to new power. It was erected 
in brick masonry as a Combination of the old Basilica of Con- 
Stantine with the central building of S. Spphie (volume 1, pa- 
Ses 189, 154), in Zarly ohristian-Byzantine forms, but which 
were personally conceived and worked over. Both the interior, 
magnipicently demorated by the rich marble incrustetions and 
mosaics, and the external view dominated by a souare tower wi- 


i i 1s 
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19ibus ns déiw noctsket9n09 edt Ol BHibifnd tse1a 6 ek 
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fi (R68E zeets) aefzodoos¥ ss Iie8 awoP ohT .edaow Soetioant atts 
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317 
286.6 ft. high, produce an earnest, elevated and solemn ‘impres- 
sion. The fothic style passes in England as specifically Prot- 
e€stant; therefore Catholicism preferably returns to the Nenais- 
sance in its churches. Among the churches of the sects (pase 
344), the Condregational church in Buke St. ip london, built 
by Alfred Waterhouse (1830-1905) takes a prominent place.~ It 
is a great building for the congregation with an audience room 
like a concert hall and a massive principal tower in Romanesa- 
ue forms. Waterhouse also appeared in secular architecture w 
with important works. The Town Hall at Manchester (after 1869) 
with a square principal tower on the middle ekis of the facade 
and the grand Natural History Museum in London (1878-1880), w 
with facades faced with terra cotta slabs and adorned by char- 
ming terra cotta ornaments, both kept in the late Romanesque 
Style, permit him to be recoSnized as an important end nonumen— 
tally designing internal artist. The Union church in Brighton 
by John W. Simpson in the latest time is a central structure 
with square middle room, adjoined by three apses with salleri- 
es and haff domes. The external architecture is clothed enti- 
rely in the forms of a rich Barocco style in the mean between 
the Italian and the French conceptions. With its mighty dome 
and the two tewers ef the facade it produces an imposing impr- 
ession. 

* Gompare on page $24 the form of the plan of the chureh of 
S. PFhomes tn Berlin. 

In opposition to the Neo-romantic, that almost entirely don- 
inated the church architecture, the Italian Renaissance intro- 
duced by Sir Gharles Barry maintained an assured position in 
secular architecture. After Barry the much employed Sir James 
Pennethorne (1801-1871) passes for its chief representative. 
The University in London, built after his design and completed 
in 1669 by Tite, in spite of its rich architectural expedients, 
in general only bears the stamp of @ weak, characterless, and 
frequently inorganic combination of Italian Renaissance motiw- 
es. More tasteful is Th. H. Coleutt (born 1840), who again t 
turnea to the fnglish Renaissance in his works, among which t 
the Imperial Institute in nondon (1887-1893) is the most imp-. 
ortant, but also exhibits a certain inclination to rich. Torms - 
and ornamental decoration. 


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318 
A sreat and freely creating impulse arose in English archit- 


€cture in Richard Norman Shaw (born 1831). He began with Got- 


hic, but soon took up Renaissance and even Barocco motives, 
which he employed with the highest artistic freedon. He exer- 
cised an unusually fertile activity, first in church architec- 
ture, but then exclusively in secular architecture, which he 
ied into new paths. His ground plans are regarded as models, . 
In the architectural treatment he showed himself an adherent 
of a simple citizen’s architectural Style, controlled first by 
considerations of suitability. He brought brickwork egain in- 
to use. By its preparation with the chisel and carving tool 
in the mode already practised by Islam (volume 1, page 208), 
he produced charming ornamental decorations. By the New Zeal- 
and Chambers in headenhall St. in bondon begun in 1876, he ga- 


ove to the modern business building an architectural form suit- 


able for the time. To introduce abundant light into the rooms, 
the walls are there resolved into piers, between which the win- 
dows project like bay windows. (Fig. 292). Shaw allowed the 
piers to intersect the great cavetto of the roof cornice with- 
out further mediation. In this manner re produced a monument- 
al and picturesque effect. The Head Police Station in London, 
Shaw kept in a Dutch-English Renaissance. He disposed with en- 
tire freedom of the small houses for a Single family, of which 
the most famous are those of the Villa Colony of Bedford Park 


near London. In a similar tendency labored Ernest George & Pe- 


to on their houses in Collingham Gardens in London (Big. 293), 
erected in 1887, where indeed historical style forms were emp- 
loyed in more abundant measure. fhe public buildings, which 
naturally afforded less opportunity for novel treatment, also 
in the last quarter of the 19 th century still manifest a clo- 
Seér adherence to traditions. The Courts of Justice at Birming- 
ham, erected by Aston Webb and Ingress Bell in 1887-1891, is 

&@ dignified brick structure with rich terra cotte ornament in - 
the forms of the early English Renaissance. A somewhat more 
mature stage of the early Renaissance is represented by Henry 
fT. Hare in his City Hell at Oxford, attractive by its personal- 


ly freer conception. On the Britannia Royal Naval College in 


Dartmouth erected by Webb, and the Royal Gollege of Science in 
fendon, as weleas on the City Halls at Sheffield and Batters- 


i ss, © * 
¢ i? 


eto atedd se biottavo¥ .2 soesidors ed? evad Hotdw .ssererts 
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ie 
nigh 2afaq6 bas visti .t 


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eae oa -mobbuit ed? to motsoere odt vests eomsvbs Savauan 
i dseeosexs L{s to tesit wobgard Anvoy sdz to ya1en9 
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ens sieds to Safyiftdesed bas ant{shomer sdz gi asdso doses dd 
“i te $t8 eft goY .ekarbiied svtaserami io noisoeis edt bas 
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make 

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a fate (rest-s8r) taidoostosé ofis0 asitw al. Xfstl dtaon at 
betseas tidon isin (488f ests) otns2oqme) [atasncaom sdt 58a 
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ind on ete. omodeid (608 808 
2 Levesioun ‘eiaeo ody to olyse asci lined 


A 
Od | 


319 
Battersea, which have the architect EB. Mountford as their cre- 
ator, the English high end late Renaissance appear with a Bar- 
occo strain. Entirely new, and entirely freed from all conven- 


+/ tionality, means of architectural expression were employed by 


6. Harrison Townsend in his Gallery of Paintings at Whitechap- 
el in bondon, and the Horniman Museum there. He belongs to t 
the path-breakers of the modern tendency in architecture. 


4. ‘tally and Spain. 

In ITALY after a long period of repose, architecture made an 
unusual advance after the erection of the kingdom. (1861). The 
energy of the younk kingdom first of ail expressed itself in 
the energetic spirit of the larger cities. These competed wi- 
th each other in the remodeling and beautifying of their plans 
and the erection of impressive buildings. Yet the art of Tta- 
ly, that in the period of the Renaissance and the Barocco sty- 
les had exerted a determining influence upon all Buropean art, 
never again in the 19 th century attained a leading importance. 
It remained inferior to those of Germany, France and England, 
and frequently adopted suggestions from those countries. As 
there, so in Italy the Neo-Classicism was replaced by Eclecti- 
cisn. 

The centre of gravity of the architectural activity occurred 
in north Italy. In Milen Carlo Maciacchini (1818-1891) desig- 
ned the monumental Camposanto (after 1865) with nobly treated 
buildings and porticos in the forms of the early Renaissance 
of upper Italy. At the same time Giuseope Mengoni (1820-1877) 
began the grand sallery of Victor Emanuel (1865-1877) as ani 
intersection of two stately streets 47.6 ft. wide and respect- 
ively 639.7 and 344.5 ft. long. (Pig. 294). In the architect- 
ure of the facede resembling a triumphal arch and the internal 
facades, the forms of the Italian early and high Renaissance 
are employed beside each other. This gallery is the most impe 
ortent secular building of modern Italy. Giusebpe Balzaretti 
(1801-1874) selected for the Savings Bank (cassa di Risparmio) 
built by him in 1871 the rusticated architecture of the Floren- 
tine Renaissance palaces Strozzi and Riccardi (volume 2, Pigs. 
209, 248); Giacomo Franco for the church at Lonigo (1878) the 
basilican style of the early mediaeval churches of the 11 th i: 


pistid , ay. ae iid Da. ashe 
Spain ottod ofitusd) 678 go-atedriw betardeiso 
at ea d¢iu- betseuas satwedtt (6882 atod) twartied 
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“Pago yd beaaieed oma ni Lavnsmd s0gotV a0 tcomenoa Lenet 


320 
century, permeated by nerthern Romanesque motives. The tuo c 
celebrated writers on art, Gamillo Boito (born 1836 )and Luca 
Beltrami (born 1855), likewise appeared with notable architec- 
tural creations, the former among others with the principally 
Venetian Gothic Musiciens’ Home, the latter chiefly with the 
Stately building of the well known journal Gorriere della Sera, 
Subdiwided by broad Tuscan pilasters between the Sreat windows, 
fo the recent tendency belongs the palace Castiglone erected 
by Giuseppe Somarugi, which is manifestly influenced by the 
Wagner school in Vienna. 

For Florence the restoration and completion of the cathedral 
(voluge 2, page 136) occupied the chief interest of the archi- 
tects. milio de Fabris (1808-1883) erected the newly constr- 
ucted Gothic marble facade in harmony with the Campanile besi- 
dé it in a masterly way. Thereby he found so much approval, 
that bis bust was placed in the cathedral beside that ef the 
first cathedral architect, Arnolfio di Cambio (volume 2, pa- 
ge 136). The Neo-Benaissance is represented by the charming 
Villa bazzei of Giuseppe Boccini (1840-1901) in a stately cla- 
ssical example, combine? the art style of Raphael with that 
of Balladio. 

Rome first introduced a rich architectural activity in the 
eighties. This was dominated by the high and late Renaissance. 
As the most prominent work is regarded the Palace of Justice 
by Guglielmo Calderini (born 1845), erected after 1888 in a 
predominating Palladian style on a rectangle 557.8 x 465.7 Pe 
and further the Art Exhibition Building by Pio Piacentini (bo- 
rn 1846), strongly influenced by the Fountain of Trevi, and t 
the dignified Bank @’Italia by Ga&’tano Koch, subdivided by th- 
ree-quarter columns in both upper stories. But the great Nat- 
ional jonument for Victor Bmanuel in Keme, designed by count 
Giuseppe Sacconi (1855-1908), and only erected in the latest . 
time, returns to e severe Glassicism in its Corinthian porticos 
enthroned above & massive substructure. 

Naples received through Ernesto di Mauro its Gallery Umberta 
(1887-1891), which however does not equal in effect its model, 
the wilanese Gallery. On the other hand the new University by 
Pietro Paulo Quaglia (died 1898) is a monumental work in a mo- 
dern late Renaissance style. In Palermo Giov. Batt. Filippo 


. 2. sae i 
, i We etd & Lom 
ay Pepe, 

; a Pt Pee ee 


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321 
Bariles (1825-2891) erected in the Eheatre Massimo, which was 
2s2completed by his son Brnesto Masiles (1897), one of the best 
‘j arranged, largest and most magnificent theatres of the world. 
In the international competition for obtaining plans for thes 
building, Semper also participated as the judge of awards. 

In SPAIN the Neo-Romantic style set in with the restoration 
ot mediaeval churches. In the church di Nuestra Senora de Al- 
ocha at Madrid, which was erected in place of the church stan- 
ding there and torn down (after 1890), appeared a Neo-Romantic 
Structure. The restoration of the Alhambra (volume 1, page 2 
219) also gave an icpulse to the adoption of the Moorish style. 
The amphitheatre for bull-fights at Madrid, erected in 1873-1 
1874 by Emilio Rodriguez Ayuso (born 1845) and Alvarez Gapras, 
is in general kept within Moorish forms. Yet in eeneral a la- 
te Renaissance predominates, already standing on the Stage of 
transition to the Barocco style. It is represented by a splen- 
did example in the Bank Hispano-Americano Building at Madrid, 
erected in 1884-1891 by Hduardo de Adero (died 1906) in connec- 
tion with Severiano de la hastra. On the contrary the imposi- 
ng Bourse at Madrid, that had the architect Bnriogue Maria Rep- 
uiies as its creator, with hexastyle Xorinthian portico and p 

- pediment, in its entire treatment appears as a beleted produc- 
tion of Neo-Classistic architecture. 
o. Netherlands and Scandinavia. | 

After BELGIUM had separated from Holland and had been eleva- | 
ted to be an independent state (18380), under the wise governn~ | 
ent of its king Leopold I (1831-1865), to whom was largely due 
the inteliectuel and material development of the country, it 
entered on a splendid period, that had as a result an extreme- 
ly rich and grand architectural activity. This at first cont- 
inued in close adherence to French art, as in the Classistic 
epoch, and partacularly as fer as the Romantic tendency appear- 
e6. In the course of the seventies, the Belsian architects s 
Sought an art corresponding to their people by e@ return to the 
native Renaissance, and about the end of the century and eari- 
ler than in other lands, they passed ower to entire freedom f 
from all historical styles. 

fhe first work of the Neo-Romantic Style was executed by T. 
fr. Suys the Elder (page 300), known to us as a classicist,in 


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the chureh of S. george at Antwerp (1848-1853), conceived in 
@ still timid Gothic style. As an infinitely more mature cre- 
ation appears the spacious and picturesque central building of 
the church of S. Maria at Briissels-Schaerbeck, which was erec- 
ted in 1844-1850 efter the plans of Louis Overstraeten (died 
1849). The architecture of the lower parts of the building s 
‘still remains in the Romanesque forms, but chiefly for struct- 
-aral reasons basses into an early Gothic in the dome.(Pig. 
295). doseph bonis Schaede (1818-1894) transferred the Gothic 
to secular architecture on the Bourse at Antwerp,erected anew 
by him in 18681872, whose vast hall he furnished with an iroo 
roof framework of wide span, and on the rebuilding of the rail- 
way station at Bruges, undertaken in 1877. In adherence to V 
Viollet-le-Buc was developed e school ef architecture in Bels- 
ium, which with refined understandings executed the restoration 
ef mediaevel buildings, also erected those of the picturesoue 
marketplace in Brussels, and e great number of church and sec- 
ular structures scattered over the entire country. Even the 
Chief Belgian masters of this time, Poelaert and Beyeart (see 
below) were occasionally employed as Gothicists, particularly 
in church architecture. 

But on the whole in Belgian architecture, the Neo-Romantic 
rehained behind the Renaissance in influence and importance in 
the history of art. Suys the Elder hed introduced the Reneis- 
Sance with bis still rather Classistic church of 8. Joseph at 
Brussels (about 1849). On the new Bourse at Brussels (Pig. 2 
296) erected by bis son Leon Suys (1824-4887) in the years 
1868-1875, the French high Renaissance appears in sharp devel- 
opment in evident competition with Garnier’s Opera House. The 
principal work of modern Belgian auchitecture is the Palace of 
Justice at Brussels (1866-1883) by Joseph poelaert (1816-1879). 
This building was erected on a ground area of 590.6 -x 557-8 ft. 
at a cost ef ten million dollars, and it exhibits the forms of 
an extremely massive Roman or late Renaissance, in which appe- 
ar Ksyotian, Persian, and even Assyrian motives in the terrac- 
ed ascending architectural masses. In spite of the not compl- 
etely organic architecture, the senerai appearance is overpow- 

3) eringly grand. In the interior the statuary of the vestibule 

(Pig. 297) and the great waiting hall, whose dome rises to a 


Naty 


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dt to somsaaieoeh odd to awitoi sad at ae ifew es ataed Llaveas 
-on-o9 to oviteinsas1981 beido onT .nstautdaso dx VE bas ds Of 


-wd-edt ean of .{VSS8E nrod) eroqywO t9s94 aan youedast ofsasm ); 


sisi eds hated med¢ Snome .eoedotwdo to asdwun gses2 6 to tsbLt 
eSunel sit te doxsdo ‘agdoosl 1.2 bos mabistemA at doiwdo euesl 
 beaterdo of .slrte oidtoS gitse odd at betwooxe atod sis Jads 
—s [ayo eng ,Safdlivd asivoss sastioami teom gid yd tovsi Auta 


gp ienvtetxe gaiscami esode af ,(G8Sl-TVSL) asbvetemd si mveenh 


tena yd bedeowrsa 916 amok svossasmoh essai sas s1uso9dtdows 
q qu vo nevis asw siysa emse os? .(90S .9t%) .savisom eonser 
. “8hont detolusoo .ushtesamh ai aoltsts yswitsy atem sad oF ats 
‘ vfega9 betodal eouseeionsd Isuocites sdt to Leviver sat aod «eS 


8b beteLamoo) sdostee te ytiersvitad eff .dtfe0 te foodoe ofa 
stom tadwone’ ...clytaiyiise cid at dxow eupsetsdoia 's ei (80 


raor® 38 roivete vexlien dntwisdo 663 ao emKe ots crsecan. sedo 
ei eens vs ferevinl edt... tfertoesad -b yds fied \neaad 
| | | Waisericors IsyoS sas io 


ae et 
; a Dig? a ee  S 
f 7 OF ary. th 
é ny 78 4 2 a itd ¥ vs 
he ' "eg Aas 


aha! ae: io tdbied 


sdootyfod act te toaastoig es toftisog atd dgvotd? (aitaso fat 


wie To eatot ctnsoO) yd betewins e10m has banyevnoe yisnoessG 


323 
height of 316.3 ft., are architecturally the most important r 
rooms. In Antwerp li. Bens built the Flemish theatre in 1869-. 
1872 in a noble Prenéh-Flemish high Renaissance: touis Baecke- 
lman the Palaee of Justice (1871-1875) in the style of the ea- 
rly French Barocco architecture. The gifted and learned Henri 
Reysert (1823-1894) erected the National Bank in Brussels in a 
Style still based on the Prench high Renaissance, but also en- 
ploying Barocco and Louis XVI motives, then passing into the 
national Flemish Renaissance, in which he built the Belsian B 
Bank on the Central boulevand at Brussels and the railway sta- 
tion at Tournay. In this tendency there followed him the much 
employed J. J, von Ysendyck (1835-1911), also known as a writ- 
er on art by his book on old Beigian buildings, in whose pict- 
uresque city halls of Schaerbeek and of Anderlecht, the native 
Renaissance attained new life. The leading Belgian master of 
the most recent time, Henri van de Velde (born %863, now Direc- 
tor of the School of Art Industries at Weimer), and Victor Hor- 
ta already belong to the series of modern artists. 

HOLLAND again abopted about 1850 its ancient native brick ar- 
chitecture with bands and members of cut stone, both on a med- 
iaeval basis as well as in the forms of the Renaissance of th 
16 th and-i17 th centuries. The chie@ representative of Neo-Ro- 


Se, Wéntic tendency was Peter Cuypers {born 1827). He was the bu- 


ilder of a sreat number of churches, among them being the Herg 
Jeus church in Amsterdam and 8. Jacobus’ church at the Hague, 
that are both executed in the early Gothic Style. He obtained 
high favor by his most important secular building, the Royal 
Museum in Amsterdam (1877-1885), in whose imposing external a 
architecture the late Romanesque forms are permeated by Renai- 
ssance motives. (Fig. 298). The same Style was given by Guyp- 
ers to the main railway station in Amsterdam, completed in :t3- 
89. For the revival of the national Renaissance labored Gugel, 
influential through his position es professor at the Polytech- 
nic school at Delft. His University at Usrécht (completed 18- 
94) is a picturesque work in his early style. Somewhat more 
personally concernéd and more animated by Gothic forms of ars - 
ches appears the same on the ‘charmins railway Station at Gron- 
ingen, built by J. Gosschalk. The University there is a work 
of the Royal architect Vryman and adheres more closely to the 


> Od bes 
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iia de Hi b. eso he Prt ene: te ice evitea 

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a | OE ois To poibiind sant mie bevisoes Yank 


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\ ‘ 


; ) 


324 

native art of the 17 th century. 

bikewise in Holland at an early date prevailed the pressure 
toward an entirely free treatment completely independent from. 
traditions. The new Protestant church in the Hague built by 
d. Verheul, already in the subdivision of the masses, ‘in the 
aim for effect of the surfaces, and in the architectural treat- 
ment already passes over to the modern style. Entirely in th- 
is course worked Hendrick Petrus Berlage (born 1856), whose w 
works, Like the earnest brick architecture of the New Bourse 
in Amsterdam, in the general effect and treatment bear a char- 
acter visible at the first glance, still reflectins the native 
Romanesque. 


BSP In DENMARK, where Classicism had struck such deep roots and 


had already axhibited such rich fruits (page 302), the Neo=-Ro- 
mantic movement could but slowly find a farm footing. Yet two 
larger Romanesaue church buildings are to be mentioned, the e 
church at Holbak by Christian Hansen (pase 303) and the church 
of Jesus et Gopenhagen by J, Vilhelm Dahlerup (born 1836). | 
bikewise in secular architecture the Neo-romantic is -represen- 
ted by tae University Library in gopenhagen by Joh. Dan. Herh- 
oldt (born 1818), built in Lombard-Romanesgue forms with the 
addition of iron censtruction. Otherwise she Renaissance pre- 
dominates in the field. Dahlerup with Ove Petersen (born 18- 
30) erected the Royal theatre in Copenhagen (1872-1874) in the 
Palladian style. Also the Ny Carlsbers Glyptothek in Copenha- 
gen (1891-1897), designed in 1888 by the first alone, with fi- 
nely designed internal decoration bearing a Palladian stamp. 
But Martin Nyrop in his new city hall at Copenhagen (1892-1903: 
Fig, 299) returned to the native brick architecture ‘influenced 
‘by the Netherlandish-German Renaissance (volume 3, page 317), 
to which he gave new life by oriSinal motives handled in the 
modern manner. 

NORWAY received the first building of the Neo-Romantic tend- 
ency in the churca of the Trinity at Christiana. It was erec- 
ted in 1853-1858 after the design of the Hamburs architect &. 
de Chateauneuf as a Gothic central building on an octagon with 
Tour short cross arms and a dome. Wore closely to the nation- 
al style of architecture adheres &. Norgreen’s church at Brag- 
ernassBrammen (1863-1871), a three aisled basilican structure 


B&E 
Elise estoe [egnckitos .estodane seboow Iecteot (stodo otiw 
‘edd gntifsoes ofnto’ & ut oidorxdenos smose fgnaesxe bas ‘ac 
r te sasdot .B io doasdo yresd oT .foodee caitevonsh genic) 
in & eoecerdxe SVES ak lick esi098 yd hesoets ansiteraad 


Suro ot mouse’ sc4 odd at s9MmIis08 sentra dotapie® atoosidors 
Po Gemotsek ead boteor10 Livh Ainnelt .GS6l-6VG! of efind ensie 
~oe1eq glong bus reLivosa s nt (8S! betelawoo) exddd eadecds 
“covesbae od? .etniog ifs oi yaced tou ,mx0} to aoiegetgxe 166 
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8d 08 besasbe Lien of ,sundoedidous to elyte noboow edd ofs 
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SME Ey es eS ~snsideisdo asen iosod asliotnemfot syidea 
wi slisd plodiocs? te muoeu¥ [snotsel eds ys bevisoes Haare 
@ Yq Saoasnow {srssocestivows sexsi eas (88S ekea) velbse .f .% 
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ag g to soi¢cere edd yd efoto obiIw 6 of awond oneded (F0RL 
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edd benoidnes od yam foicy 3aome .eolude faoisosain sasted 
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| betoete soft Ire8 -wlodtoose ai dsod ,ofdsod jal asiteas’ - 
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4 Dien Yo drow {saioaixa off esoncd ebsost abid atin soilivss 
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Fn ‘edoie® ‘ede bus ooslsa evisslersed sa¢ te, ekoibliud Io ase7% 
| epe.ssorh 6 yd beseninod poe sosled fayo# ens aseu tikud ,xasé 
me ‘nb ngnecedcl. ost yd besvoexe ase $I .(008f ssodejoneh oreo 
‘f fed tin8, soneaeienel esai dose’ sasingrel yuey bee ywode & 
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basnthis¢ baz .mxed Lanoisnovnoo eds moat esiieiiso qiertses 
oitesa oisdoete. Ysio eit Yo rebliwd eds .(OO8T nred) s0ded 
tte yd pagenanei: oN Snonseond fevon edi yd dokaw ,evena 


«f os ae ry 


) fia 8 


“eda vd boouboutnt ean oonseaisne ed? . iced asmise'y § 


+ 


vlerstedt, the creator of the church of S. Peter at Stockholn, cy 
éntirely differing from the conventional form, and Perdinand 
Bobor (born 1860), the builder of the city electric station 


3825 
with choir, internal wooden supports, horizontal wooden ceili- 
ng and external stone construction in a Sothic recalling the ; 
german Hanoverian school. The heavy church of 8. Johann at 
Christiana erected by George Bull in 1878 expresses a north G. 


‘oe@erman basis. Phe Renaissance was introduced by the German 


architects Heinrich Erast Schirmer in the Art Museum in Chris- 
tiana built in 1879-1885. Henrik Bull created the National 
theatre there (completed 1899) in a peculiar and purely perso- 
nail expression of form, not happy in all points. The endeavo- 
rs of the younser Norwegian architects to bring into honor ag- 
ain the wooden style of architecture, so well adapted to the 
Climate, age to be designated as very pleasing. H. Munthe ga- 
ve a magnificent example of this, worthy of imitation, in the 
native Holmenkollen hotel near Christiana, bot) 

SWEDEN received by the National Museum at Stockholm built by 
#. A. Sttiler (page 285) its first architectural monument of t 
the Neo-Renaissance, recalling rich Venetian models. After h. 
him a series of Swedish architects worked in a purely eclectic 
Manner, not without a certain éndeavor to cause recognition of 
a personal estimation of historical forms. Emil banglet (1824- 
1898) became known to a wide circle by the erection of a Sreat 
number of entirely central churches arranged accordins to the 


“requirements of Protestant worship. Isak Gustav Clason (born 


1858) was the creator of important residences, erected in dif- 
ferent historical styles, among which may be mentioned the pal- 
ace of count Rosen in the Barocco style (1898), and the palace 


of count Hallwyl (1899), approaching in the detail forms to a 
Venetian late Gothic, both in Stockholm. “Garl MBiler erected 


the stately church of S. Johann theresas an early Gothic cross 
basilica with high facade towers The principal work of Swedi- =~ 
Sh architecture in the second half of the 19 th century is the ; 
Sroup of buildings of the Legislative palace and the Reichs’ “A 
Bank, built near the Royal palace and dominated by a great. sa- Fi 
uare domefabout 1900). It was executed by Aron Johansson in 

@ showy and very luxuriant French late Renaissance, #rik hai- 


there, which by its novel treatment and particularly by its j 


fe ad ae wid he 
ti Lela. dial 


| piWem Gelber’ sii e1s .colinsise espuots Is319q) bedote yirara 
8 Saka! = Bee “an . e898 gtebom. 101 exe%eod 


ob bce asinolo® ef3 babheoisemA .ecomwe nistes®  .8 
ad d@iw esos oxvetcow mori onibesdora Thomsvom seenk ent 
eas to bas asas elbbinm sat to empsostivois sig paivives %o mis 
: “puedess edt buoyed oele sovew est bebnetxe eonsee {sash 
me Y esdbivore wveteew ofg al .sit¢enk Yo bas Yoawteds to ato 
SILL fapsceisetoi asm7199 no snobnogeb yffagtontaq .steesh 
Ja duals basintd at Sue esogrvoig oftie8 eta .baslo9 
~ metofeest@-oe! ed? .yaswied nf teds oF rsitmre tasmgoleveb 6 
~ooll od v6 penoi tos baw vinsneo dz CL ens Yo ofobiw sad yedte 
a te ,soneeerersfi-oel bas oftnamos 
Stienr .Strl sxe shiz to sagn99 of? bew10l wooes? .basfod al 
<a) 8 at ytterevino: ent bodoete (SESI-OSEL) tieqesetel exiled 
Sgostse vieeit ni ecsleq 324 ets idenyosM susv® jotdtod ezsioe 
besenigbio bait nt’ .eonegetsoe® otef bae dbid edt Yo ewret bs 
PP getsds sulsinasst oifodssd eng .(TSEL) soindo eharsisd end 
meeeoen ee ar ehoiflind seftoen Yo asdavn Jser8 & bas (sesh) 
) Pah te eckiest sds setts CSSr ai sftud sern0h odd ,efyse OLN 
 enet0lF nt (6582) enedtessi® eosisa hoe .nstieueY ri seeod nov 
eneeenge7 et eogsesieaed ocd sroiadrafeli cf .sonseeisnash sais 
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e, 


Bae nt @toesiners Yo noits1ends' tedel oat .(SC8!) soaedo ne y 4) 


Taes® sh (heasbaty .A to cidetobesl od¢ rebas .fsatqee netnot’ 
Seb(tad yrdarew ond bososre yveitebod odw  weawiasd .2 bas aut 
N of bas ,etotantelel at alotifo® 00 sfuasbent exckY odd Yo e4n 
3 =sf \oreds feotios otadoedsyio® ene to eliqua tendo hetetbe wodn 
 gfertine atside og lege rae eishom sat wt vilsoitegusne bes0d 
Pree: Ha. .'s -emret ef[yte nisbhom Jnsbsaedsbat 

| Leigeosow’ ve: bas dhandeietsa .£ to efediqao ofa nr siaeok af 
“PYfed° sertt sds nt seoV ods mor? cotwoo vasawo ovnseetens® ods 
aaa Sisetesc(O Yo nottaatxorqae se beeubo!yauanco dt OP ort To 
“=pasdi-ootl! eat” worl Ted eoneecisnel nsifes? sit o¢ ervtoer ino 
+ _sBer bonea {2 ewefov) tae nefean? imotooe: odd oF nxeser 8s ois 
; yen TO csilesT dtiw bososnnet serkt a6 aew erat (SOS 
ebebtoeb eirom 19v8 stsoed seast obo evel ef} mort emriot 
‘yd oli { woosow nit atiner® bs wk eostsa Jesv off .eseves 
10 Ebuase Ilias! Best-csst at CHeeLERENT) odd .& niduete 


ve ae at “4% He ae uot peagea tos > 


326 } 
mighty arched portal arouses attention, are the Swedish path- 


breakers for modern art. 


8. Eastern Europe, Americatand the Golonies. 

‘The great movement proceeding from western Barope with the 
aim of reviving the architecture of the middle ages and of the 
Renaissance extended its waves also beyond the eastern fronti- 
ers of Sermany and of Austria. In the western provinces of R 
Russia, principally dependent on German intellectual bhife, in 
Poland, the Baltic provinces and in Finland, architetture took 
a development similar to that in Germany. The Neo-Classicism 
after the middle of the 19 th century was followed by the Neo= 
Romantic and Neo-Renaissance. 

In Poland, Gracow formed the centre of the art life. There 
Heliks Ksiezarski (1820-1884) erected the university in a tas- 
teless Gothic; Franz Macynski the Art palace in freely select- 
ed forms of the high and late Renaissance. In Rise originated 
the Gertrude church (1867), the Gatholic Franziskus churcn ( 
(1892), and a great number of secular buildings in the Neo-Go- 
taic style, the Bourse built in 1855 after the designs of da 
von Bosse in Venetian, and palace Ritterhaus (1868) in Ploren- 
tine Renaissance. In Helsingfors the Renaissance is represen- 
ted by palace Ritterhaus (1858), the Gothic by the new buther- 


49 an church (1893). The later generation of architects in the 


Finnish capital, under the leadership of A, bindgren, H. Gesel- 
lius and &. Saaranen, who together erected the weighty buildi- 


ngs of the Fire Insurance Go. Polijola in Helsingfors, and to 


whom adhered other pupils of the Polytechnic school there, la- 
bored energetically -in the modern endeavor to obtain entirely 
independent modern style forms. 

In Russia in the capitals of S. petersbursh and of Hoscow, 
the Renaissance current coming from the West in the first balf 
ef the 19 th century caused an approximation of Classistic ar- 
chitecture to the Italian Renaissance, but from the Neo-Roman- 
tic a return to the ancient Russian art (volume 1, pages 198, 
202). This was at first fonnected with Italian or mediaeval 
forms from the West, but later became ever more decided and gs 
severe. The vast palace in the Kremlin in Moscow built by Con- 
Stantin 4, Thon (1794-1881) in 1839-1844 still stands on the 


eae mee, Yas 
,soanseianed fsifst? of setotesal9 sort moisiecsat end to eksta- 
bededkadds detvdexsses .2 te nottesonuand eid to sotwas edt uG 
“tf goieis etowod evil yd beowore ei doide ,xedeem Suse S03 oF 
do sit 20 <netiedl yé béonsied sis emiol asieess ebimeryG st 
soso ge yretesno# itenceesnaeW edz io saizedse .6 io sou 
-msebea sav fo soisdo,bdosie sé4f .oidto® dsiw emtot asieasi o16 
“pes (neieesS yivat si wonsued bas moitf yd botoete wos se 19 
~ audiasg 6si ni civte ceiessd sdt evidiaxes ybsstls soneoitia 
=—gudo\ eds no bevididxe esidincilucee evi ors yianomse stom sey 
-siaxd efd mo bos ,ersdetsseg .2 te (89EL) sined weik ei to da 
seseds Seisesuiue aeve .stedd aebhis2 t9mmee sid al sorsHo agcld 
Saoortinken 07 egoiblisacmiuses astel tastiyeqai sion efit 10 
“ve, wesastTomoG yo besse19 (EG6I-888!) wooeolt ta wok Latozeunod 
A.“ efyts upicazat ods to eoissoitinslo orsdiso s edidiaxs ae 
Ye eoeleg edd no toa -ami0t sonseginsed ylise bas supesuemoh 
o) LpottoseiB vei edd so Gas wokndoadidnoal yd basoors smeG odd 
-dabe2dge1 Suoddin beyolame ef Ji .nooeEM Js boowied? To useauk 
-ssdene busot ybecils saemevon ofeasaoA-oek eng ADIHENA osal 
+6 esw 210Yeuew ol .yustneo di Sl edt fo slbbim sds si0isd eo 
,Ohuds benisitess yrov 8 at dowd yiiniat GdSi-GeEl at boesos1s 
(Hofwoeh some) yd) docige? 12 to Laxbeatso ess CVSl-O3Sl at aus 
ene neiietl eds setwoiid .ofdtoY erudsm o10@ 6 pi S!LinG BR 
‘metaeidest ge exetQnod io yaexdid ods at bsyolame ei sonesei 
-ixo1cde yigsoivs soasecisnsh 5 ,.e.% ,sside18 ens , (FOS L-86E) 
ee eet ai vrelle® sex00708 ead fo .meineliol of Snitan 
cp 't -QbelF secatd ya WOSIeeGTH Oss09 
ati yeate gotesS asdiueah devel eid to souevbs gaisene sdf 
-sucolsveb Jaobneusbai bes doia s of bef (*68l-F6SL) usw Livic 
- ds0m to bheit initsivts ylesidoe.o8 .ate nsoitesA disso io to 


- sedans cagathlivd isiorsmmes sit ai etossiiiorws og bobiolils ean | .3 


edt of tesol ton bas eletod ,eisnaiol, geex8 edd TOI voxsdourde 
_-sbs0one ni fotan to sasmsso12 bas trotwo9: ed3 102 poowebtees 
a A ob ot ilew sda .emotevo oun anoitesifoai awo iaisod asin 900 
q to dos{ bas osasd odd ai nofdsmides dkid ge besisies ansoiirend 
_ *xe;en8 amemegaszs6: Leben bas asehass®.esvil risiid ai seoger 
| souxganos ni engidieivors teey od? sepeibiied ious yd bedidid 
wing [nor betexdoles wekde: .exnivedsebag Saifsieis of bof noid 
eoqoamal ,eliad: Iegseloo to gaitewe9 eds ni yloo soe ,adqmo 
foes he wane beats af Suiess "areqeioagie™ edd 


‘ 


C&S 


327 


Stage of the transition from Classicism to Italian Renaissance. 


nN 


Qn the church of the Annunciation ai 8. Petersburgh attributed 
to the same master, which is crowned by five towers risins li- 
ke pyramids, Russian forms are balancéd by Italian; on the ch- 
urch of S. Catherine of the Wosnessenski Honastery at Moscow 
are Russiaa forms with Gothic. The grand church of the Redeen- 
er at Moscow erected by Thon and Resanow in truly Russian nag- 
nificence already exhibits the Russian style in its purity. 
Yet more strongly are its peculiarities exhibited on the chur- 
ch of the Kiew Lawra (1898) at S. Zetersburs, and on the Expia- 
tion church in the summer garden there, even surpassing these. 
Of the more important later secular: ‘buildings, the magnificent 
Commercial Row at Moscow (1888- 1893) created by Pomeranzew ev- 
6n exhibits a certain clarification of the Russian style by & 
Romanesque and early Renaissance forms. put on the palece of 
the Duma erected by Tschitschugow and on the New Historical 
Museum of Sherwood at Moscow, it is employed without restraint, 
Into AMBRICA the Neo-Romantic movement already found entran- 
ce before the middle of the 19 th century. In New York was e 


erected in 1839-1846 Trinity ahurch in a very restrained style, 


but in 1850-1879 the cathedral of S. Patrick (by James Renwick) 
was built in a more mature Gothic. Bikewise the Italian Rena- 
issance is employed in the Library of Congress at Washington ) 
(188-1897), the Grecian, i.e., a Renaissance Strongly approxi-_ 
mating to Hellenism, on the GYorcoran Gallery in Washington er- 
ected £894+1897 by Ernest Flags. 
The amazing advance of the North American States after the 

civil war (1861-1865) led to a rich and independent developme- 
nt of North Acerican art. An entirely fruitful field of work 


by was afforded to architects in the commercial buildings, banks, 


structures for the great journals, hotels and not least in the 
residences, for the comfort and treatment of which in accorda- 
uceé with their own inclinations and customs, the well to do A 


Americans retained a high estimation in the haste and lack of 
repose in their lives. Grandeur and model arrangement are e@x- 


hibited by such buildings. The vast acquisitions in construc- 
tion led to startling undertakings, which celebrated real tri- 
umphs, not only in the cowering of colossal halls, but also in 
the “skyscrapers” rising to dizzy heights for the purpose of 


ee 


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—isemh ods Ju8 .sTie enibltud oat Yo Wolserilise ewettxs ods 
» Yoremelsosg laasbtoeticoue sas sotees vino som-etossinoss we 
eogts eisow ateds of avis eels yods iaoktonadeneo bas Sasneala 
dnebaogebal bas tetfvosq s vietneo ag @F osahd te weey steel etd 
<i aR ‘,dnemdsest Lardoesinoys ods oF Bntbmegeed10O9 UMsTs 
esb Sio08 edt ta betsoubs .(easei1® wel ni C&SL a1r0d) soabsano 
‘geded° .AN0Y yo" ni Joosinors ns SG8E wott .eived of ed4h xused 
enirs? etd of .exvsostidors ssotvemA wom eis to t9xeetd~dseq « 
=o edd of benruder ed .SVEL Juods Jliud soseod ai dorudo Yds 
easo <8 saviov). arege.3o bas eonest siedsuoe to elyte supecns 
-isemh-noxet-ofsa4 Ivitewou ¢ si od hodtaqmai bas {08 .ar@ poe 
to. ysoseid sds ai ixambosl s emi03 dossdo eta? .yailiztvy nso 
bas obidua tedto to sedmun Ssex8 8 oO .siuvicetidors aseiioms 
wid yd beowbousat efyse sdd .woebusdoih yo egathfind sdaevisa 
witieoq s hertvooe ybseile bed e8 ,dnsmaoleveb. ifui ota: use 
asotiemA nusbow to sonsiseqas [sisne2 eis aol evidsninesseb- oe 
=d058 ga yd TOlt9tx9 oft nO besixedoexedo si tI .euwsoedinows 
welesefioes taoule seoaqsua edd bnieiesiqne eoiquows Leunsooss 
-istosase gad .@2ainedo Bedove-Dos0t t0t sonesstemG seorg Ss Yd 
-sou. eaideet s es stadwytere Bafacsacs gnotsscisaut vve8ea yO vi 
=enea al .econevineam asoqofoyO ni beqolevsbh eewitonoe bas avi 
=ibdee Latesostidois yiseoo19 sf ywogoss sseay Bdicicxs od [ea 
i edovolame 6%s dove sasdw :zevitom Laxusoezidois bas enokaiy 
smi02 to! bixzéw< supesnsmoh-ocinswied sd¢ of sretba eysris yeas 
/ bast brswqn cissic9 s wsilvoea ei ebaibliud tetoremmoo aud oF. 
663 %O e20ds tascee onis' ysis eevitom ievesibem sebined jyous 
-8f9). daomtsers {pYaenoq bas cost 6 at evewls dod ,eonsesianeh 
| =tmoo bao1d gididxs yiteido acevod yitnuos besalosi oaP . (006 
; OSai Semoo Hisks oBis eoisoursanoo nehoow feoitesA of? = .310 
q isd yieusisxe os. esifiv avousmen si bsouboxrs ok .medd go ear 
: -9%03eH OF SOTETSEGCR [eautoesinows edt lo motssies evoiaos 
4 Aa ea e8 ,eolaionixa case oot ewollot gmemteoius Lentdiar onP 
.(88 o&sS) .peuod defiled tetei oct ai bagolsvab 

tps. essnibtodve ylotisns et .eetagfed efit io sasicstisore ofl 
Ab vilsnotesos0 -tosidne e1e Yods doiiw os .erste end Jo J8c5 
03 oben a16 enoteesonco ebhaei hestlivio S10 eda to eoisaob ods 
4 su® serlecer Bntvaev déiw If seve ,eresoesidors Lsiver esd 
heen vieowsoe zogsiduescs wot Rniviee egniflind cildua eds 
is eh tedsom oad To evotd wort Gmemsse ts sivse aiedd af 


Gg 


328 
the extreme utiligation of the building site. But the Americ- 
an architects not only master the architectural problems of 
planning and construction; they also give to their works since 
the last year of the 19 th century a peculiar and independent 
stamp corresponding to the architectural treatment. H. HB. Ri- 
chardson (born 1839 in New Orleans), educated at the Beolé des 
Beaux Arts in Paris, from 1886 an architect in New York, becae 
& path-breaker of the new American architecture. In his Trin- 
ity church in Boston built about 1875, he returned to the Rom- 
anesque style of southern France and of Spain (volume S, page 
44; Big. 60), and imparted to it a powerful Ansgio-Saxon-Ameri- 
Can virility. This church forms a landmark in the history of 
Ameriean architecture. On a great number of other public and 
private buildings by Richardson, the style introduced by him 
came into full development. He had already acouired & positi- 
on determinative for the general appearance of modern American 
architecture. It is characterized on the exterior by an arch- 


‘itectural grouping emphasizing the purpose almost recklessly, 


by a great preference for round-arched openings, but especial- 
ly by heavy rustication appearins everywhere as e leading mot- 
ive and sometimes developed in Cyclopear fassiveness. In cene- 
ral he exhibits great economy in properly architectural subdi- 
visions and architectural motives; where such are employed, t 
they always adhere to the Germanic-Romanesque world of forn. 


52. Fo the commercial buildings is peculiar a certain upward tend- 
ency; besides mediaeval motives they also accept those of the 


Renaissance, but always in a free and powerful treatment. (Fis. 
300). The isolated country houses chiefly exhibit broad conf- 
ort. The American wooden construction also again comes into 
use on them. He produced in numerous villas an extremely har- 
monious relation of the architectural appearance to nature. 
Phe internal treatment follows the same principles, as were d 
developed in the later Bnglish house. (Page 346). 

fhe architecture of the colonies is entirely subordinate to 
that of the state, to which they are subject. Occasionally in 
the domains of the old civilized lands concessions are made to 
the racial architecture, even if with varying results. But t 
the public buildings serving for assemblages scarcely differ 
in their style treatment from those of the mother country. 


i re 

besoo 705 sar 1 to. on . nit 06 Bie) 
8 to. ene Lue a t ee ecbore sokeestiiv i 
isi fove oreifot asad iy -1i0e oie 701 ong os 


at! vod 


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is 


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(Pig. 301). The opening of the protected domains to’ European 
Civilization even compelled the transplanting of Buropean art 

to the foreign soil. It then follows, even if atrnepe hia 
ce, in its entire further course during the whole political a 
and intellectual dependence on the art of the mother country. 


bs ee 


Sire). trent raacle Pen 
Maa 9 et Naan | a pliatl Siebel «2 
aaa his atechidiesies yuutaes dt-Cl eds Yo bae eda suods 
ceageeneh) ~tts to entsmob edd ni w20199 ToL ednemevon dsgneite 
gots igoaao josaib e So genoa eft at toowevon [s19M98 8 oF bel 
5 ‘tedd to tiveer sds ors vod? .eaoisioo otteisas 19m7@E Sas od 

efqoeq edd to siti Isusoceilesni odd at noisewroteasts Lwisewog 
esti oft wt 10% boasce71q esd bsd foidw .eqoast [exdaso: to ee 
~8orgit? eds to bas oft test4 .eehsosbh Isrevse Snirtub si0is4 
os beonemnco .enointao ea‘biaon edi x0t emeldora wes .seobi wea 
. eft to youshnes L[eoitoteid ylerevee edt soneulin ylistrewoa 
<itow aid yiosisoisasy .ydgosgolida e‘tossinegodss .esudtsiesil 
yew adi ebsm omis eint sa Yauntlevares¥ bay elik® as tie¥ 9fG” 
borat iro ead to eelorto seebin edt af sox0i Istasmele dtiw 
deomtg edd to vaesds eid dtinw sdoessill bowollet brsn1edts no0d 
edt to ,aewoa od - [fiw oft Yo bas “I” edd Yo noitsveis oidieeeq 
diiw sfio8 beiseqcs so0e1% of saseteque edd to efdzian e‘istesm 
g edd to soiviss edt at es@hi eld io noitieoaxe Tosoilingss s 
e*need) at yswro wort bebasos esnot selimi& .emel[dorg [stooe 
fof ai sieest mort toonea tesilo ylasluoidaaq @ ai bos ,esesth 
‘etweesia bieki0t oiscidoks bas aeetdtoss ody nl .eXt0w etiose 
-eighnite odd ai .2eabh von odd yd Hoveowzoe efoolisini ond io 
bas noktibewt to [eined edt nt .esettei [is mort wobsett 167 
-gud g1edi1 ,beo1;ctnae ylewoiveta yffroddus edt of noisieoqaoq to 
doidw ni .emit s ta bexnsoo0 YI ~.ebaim to JesTnoo Jos s box 
-getoe [le af dedslqmoo sian esaoitsmtoiansi &eiayoisesob-eresd 
_eayvelo to aatiesl adi bas ,eniswob Isicoe has [eoiadoss ,o1iie 
| sonetoe sisasem tse1t2 ni bslirt anotaiao semi0t Lie evode nord 
 etudadetil ai ,jiso odt bsbaooget ieam01se asvi .eoinioed bag 


‘ Yo eosia ai nom ino doe 08 ,adtaevitsm10t ef) ni es Liew as 


Yeo show ett dtin metieea agw 31 .delist ed od ese1d blo edd 
\ eaehonan [autos Ses ytiieert mott eviteeso yitsrdo .sdguo0dd 
 @aeayolaos odd bus .si déiw soosilie seols ni seileivtcn bos 
BFiasttvenine ai don .edae bas geonsice eds Io .¢f vd berivpet 
manos add ai dotaw .eiged Ietetsn 8 no fod jeotut Lsmx0t dsiw 
at .wetissotorsvo yrosorv eds cow yliswbsis ssotniae Yo tes 
ee oidetleisten bas ofteiisem cits esis evidsmiot sas 


330 
5 IV. Architecture of the Present Time. 

““ 4. General Basis. : | 
About the end of the 19 th century appeared in increasing s 
strength movements for reform in the domains of art, that soon 
led to a general movement in the sense of a direct opposition 
to the farmer artistic opinions. They are the result of that 
‘powerful transformation in the intellectual life of the peopl- 
es of central Europe, which had been prepared for in the lite- 
rature during several decades. After the end of the fifties, 
new ideas, new problems for the world’s opinions, commenced to 
powerfully dnfluence the severely historical tendency of the 
literature. Schopenhauer’s philosophy, particularly his work, 
“pie Welt as Wille und Verstellung”, at this time made its way 

with elemental force in the widest circles of the cultured. 
Seon afterward followed Nietsche with his theory of the utmost 
possible elevation ef the “I” and of the will to power, of the 
master’s rights of the superman. In France appeared Zola with 
a magnificent exposition of his idéas in the service of the gs 
social problems. Similar tones sounded from Norway in Ibsen’s 
dramas, and in a particularly clear manner from Russia‘in Toi- 
stoi’s works. ‘In the reckless and esotistic forward pressure 
of the intellects possessed by the new ideas, in the struggle - 
for freedom from ell fetters, in the denial of tradition and 
of opposition to the authority previously enforced, there bur- 
ned a hot contest of minds. It occurred at a time, in which 
basis-destroysing transformations were completed in all scien- 
tific, technical and social domains, and the feeling of eleva- 
tion above all former opinions filled in Sreat measure science 
and technics. Ever stronger resounded the call, in literature 
as well as in the formative arts, to set out new in place of 
the old trees to be felled. It was realism with its mode of 
thought, chiefly creative from reality and actual observation, 
and naturalism in close alliance with it, and the employment 
required by it, of the sciences and arts, not in accordance 
with formal rules, but on a natural basis, which in the cont- 
est of opinions sradualily won the victory over idealism. In 
the formative arts this realistic and naturalistic intellect- 
ual tendency appeared with a definiteness and sharpness, as h 


Ce 


: ) 3 %80 EBW Sct aaa ben 
prieeidied: ator basseoc ith ite at gro ute bas dattatsa 
“ened at: tewsaiuoe pi voidued das ,batdaisa mi ti 10 désaq one» _ 
only sysw ease edd snow scored dain fe egers1e io Jeon & Yuse 
owts segaol s betivosy exvten etisne sé#i yd dada .e1vsoovinors 
petsooges States wen sit .moissetoxs Io ertot wen Oniaresda 10% 
#d (mobetoe’ wese012 dtiw Ifsesi Nseaotcxe nedd ti de8 .asd8l 
geanedo sebedebh omos 161 ybestiA .2318 Iedeie ows Sat of asad 
gtaenetiupet bee anoicibnoo {satotxe sud oi .emeidetq edt ni 
. Pebneds oc bas .tr 10% Lice edd betses1q Ose ouvdJoediders to 
-293@ tiessi Yo yosorls si Tana ,dnesoolevem asi 10i efeso sdé 
age -bonteses ybseile Yosad ont oveel oF biswio0l Hse 
ko sd@ .gtivisos Laisdoesiaorws To ssneoe Iasdsogni seou on? ¥ 
“dé beaasdo bed, yisiaso da Gl eds ie isdsewp dael oid ar ,estd ¥ 
-qnmi eas bas ewoesen sai .ooneisecas Latadoedidois siidas 166 
-bat eda at senevbse enolodst sdti ar yel aids 10% eso107 barife 
a8) weds datiw fef{{s1ec sntgolevsh sorsmmoo atid Io bus eoitd ay am 
fekeoos sad to eaoisemiotenets Isitoenitag v-sv sdd oc 28 Lies | 
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«> gdeblm sdz nt bedseus od o¢ .NeWwoG: bre a9deH .Jdsii soT anoid 
q@ atedd to sovooos fo smx0l arebom hemuees yossils .esidiv 1o 
eorsnnod te} asnkbfind of? ssid add io, weiv eas oi sededa 
Ss Bnbeesrqxe Jnomtsess 8 headwpsx evosd sav Hos eepnetoxs ond . 
-fdote fevon viestts®. .bfaow ceonieue edz ni sonstieams ALSdd 
tse%% edd yd heeceorT9 een: etoriedar Io Iasasssis eft af ome 
-[sedaeo! acute ent sebwkd lis io ellad dgevaer ons eoavodsisy 
-oo8 eit bas esitio etd mi: sigooa eat to eseazcn sad to aoktess 
gem: to! eeasidusess teav col e2athlivd bearings: caoisibnoo ist 
ieieet yefsoe 28 dour ,igomnastier bos Jesneerns 14903 Oi bas 
| wtostetres sds jedi! edd bar coiso ,simagpesess ,eilen s190809 
edd of bas beeee700i Lemans xe nokteonbs Yo ebeen sis to noi 
 euomions stisp ai ebata: iis te eeesod foodos .ascesio seoutet 
oLusfgyd seed ens dtiw bos enoiensmib 
seinodid eit hebbs neds? five ese 6 


» Sane, 


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331 
had scarcely ever been the ease. It was earliest expressed in 
paintins and sculpture. In France Millet and Monet had broken 
“64 the path for it in painting, and Meunier in sculpture: in Ger- 
| many &@ host of artists of high purpose went the same way. ‘in 
architecture, that by its entire nature required a longer time 
for obtaining new forms of expression, the new spirit appeared 
jater. But it then expressed itself with sSreater decision, + 
than in the two sister arts. Already for seme decades changes 
‘in the problems, in the external conditions and requirements 
of architecture had prepared the soil for it, and so changed 
the basis for its development, that it already of itself pres- 
sed forward to leave the track already retained. 

The most important scenes of architectural activity, the ci- 
ties, in the last quarter of the 19 th century,bad changed th- 
€ir entire architectural appearance. The reasons and the imp- 
ellins forces for this lay in the fabulous advance in the ind- 
ustries and of the commerce developins parallel with them, as 
well as in the very influential transformations of the social 
conditions of our own time. The continued and increasing tra- 
vel made the baildins of vast railway stations with colossal 
halis, great post offices and grand hotels,designed for hundr- 
eds of travelers, an unavoidable necessity. fhe plans for in- 
dustrial purposes frequently extended over entire quarters of 
the city and gave to these a peculiar stano. The central sta- 
tions for light, water and power, to be erected in the midst 
of cities, already assumed modern forms on account of their p 
places in the view of the city. Phe buildings for commerce, 
the exchanges and the banks required a treatment expressing t 
their importance in the business world. fntirely novel probli- 
‘ems in the treatment of interiors were proposed by the great 
warehouses and market halls of all kinds. The strons central- 
ization of the masses of the people in the cities and the soc- 
ial conditions required buildings for vast assemblases of men 
and for their amusement and refreshment, such as society halls, 
concert halls, restaurants, cafes and the like; the satisfact- 
ion of the needs of education, extremely increased ‘and ‘in the 
largest classes, schooi houses of all kinds in quite enormous 
dimensions and with the best hygienic appointments. To these 
are still further added the likewise gradually becomong colossal 


> ics ial 
ea Ps or “ee i * a ta rs ree | J 
, a. | a si wte ites sored. rot evarhlisd 
Feito eves page te angering tn of¢ bos of 
fim .eeoeleo bas evactsdo odd .pedorudo to! amefdorg Ison 
HOLsee79 Latstoet iors to ywtvets to estaes ods oswt0) ylavoiv 
~ts100Neb bow [etooe ada ni ceil tT .baworsfead ens ovat ease 
.) “a8: asoetiiors edz to testedni odd tent .owis duo to Jitiae of 
u ren ot eonsbtieer a*sesitio edt og betoveb ed won blyo 
bea i -STHh850 HWORKAN 
qheds aot ebodisa won ot bei eevisemedsd to emaidora ved ont 
=ton071G ylanouwte .sddwods to atom oisetisinssan eft .aoituios 
eastitin.emeiseo as 103 bseceta meioks bas satisiasesbat yd be 
-ays to. aotésler off  ennem Isoindost ban ear? ,ecsce to sok’ 
-efl od bus evpitne sid nt dewoleveb ylieido es .beod bas J100 
~of ,eeisudace 10% esudsedidore heteuimob bed doifwu ,sossesiaa Nt 
-ftonmwencs stetonce heorolmies evsbor ea? .somadaoums cot da \' 
sds Yo degneite edt at Hoessionk omsacxe as sidiesog eben a0 
eantiftes to tdbiew edt at eidieeoqui ylevoiverg & has edaoquee 
$I) sea0iasetoi to enage seebiw saz os sonsvbe bivoo asm tedt oe | 
_yidkvorods sofdw .coo10h to notsibnoo Leoideste wen 8 sd2uoI0 ? 
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‘douse .elsiroten al sasmdoisae hedruedag seomis sad oedts sew 
| <BR ats io sosemmoo sds) Jo sonebauds edd movi baseets ston e8 , 
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ssesdt seatdosborg isiaztenbak eselvodmun ai antrosoetveam onto 
eeasd) ons at .emoldorg ods of aebneds Jnasxeqgut yiesse Jasc at 
bast eevioemeds io seum evudossidors To efnemesivpes sid One 
Rowe ,noisigogmos siseiiss oad of ataomertepe:x Loven o8 
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rere ybseris gnemertinpet edt .eausoetidors seisose ar tsvolome 
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_ y euotsibacs edt mort beqoleved vissak sd steum wsisorg asobon 
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_  eggerstet déin® mofdorg edd ovfoe of bedeiw of .sense 2*19q 
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8 encteaeraxe iotdsiat yldstaceibat e8 bouistes bas bsaoleveb 
ss a9. *ootsovon09 ienss907se bas. feasesat nisiis0 to esays bas 
dsud. vibad tol stieeb eat -se9dd oF Peecaae ylsoexe won sit9% i 
 Sfesa 3 eben uaa iis ise: boa 
gs ary oe : ‘or 


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332 

buildings for state and communal administrations for the publi- 
ic and the common benéfit. In comparison with these architect- 
ural problems of churches, the chateaus and palaces, which pre- 
viously formed the centre of gravity of architectural creation, 
pass into the bacgground. -It lies in the social and democrat- 

ic spirit of out time, that the interest of the architects sh- 

ould now be devoted to the citizen’s residence in a previously 

unknown measure. 

The new problems of themselves led to new methods for their 
solution. The materialistic mode of thought, strongly promot-_ 
ed by industrialism and egoism pressed for an extreme utiliza- 
tion of space, time and technical means. The relation of sup- . 
port and boad, as chiefly developed in the antioue and the Re- | 
naissance, which had dominated architecture for centuries, lo- 

q{/8t its importance. The modern reinforced concrete constructi- . 
on made possible an extreme increased in the strength of the 
supports and a previously impossible in the weight of ceilings, 
SO that men could advance to the widest spans of interiors. It 

brought a new statical condition of forces, which thoroughly 
transformed the esthetic principles of architecture. To this. 
was added the almost unbounded enrichment in materials, such 
as were created from the abundance of the commerce of the Wor- 
id and were provided for architecture by the restlesslhy advan- 
Cing manufactoring in numberless industhial products. These 
in part deeply important changes in the problems, in the bases 
and the requirements of architecture must of themselves lead 
to novel requirements in the artistic composition. 

Their first resakt was the recognition of the unsuitability 
ef the series of forms of the high Renaissance, before chiefly 
employed in secular architecture. The requirement already sta- 
ted by Semper with farsighted views:-- “The solution of the m 
modérn problem must be freely developed from the conditions 
given by the present time”, now became a fact. But not in Sen- 
per’s sense. He wished to solve the problem “with reference 
to those traditional forms, which during centuries had been 4 
developed and retained as indisputably faithful expressions a. 
and types of certain internal and structural conceptions”.Men 
were now exactly opposed to these. The desire for individual © 
and entirely independent artistic treatment expressed itself 


ee alt a 
me) , Fale a 


en ‘eee ee # we ay gh H, me) 1 Aad 
an ih * | strato » ott Lsisoa: at se18h 
o brs -viKol 


jod bstesqqs: st ae’ tamiot sivse {sot 
sors Siok asovet evitsyseenoo eds @tiw @eernoe Rats 
sMOLTR979 

et csvon teo1g dads (os? Inobrose te signi {few 6 et 3 
Sivek enoitss eds to sonavbs, dasozodd « jilugex 2 ee. bed doidn 
4 jeanne deel sdt of taew eyeuts elif citeitus 10 [sutoelici 
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eid tovfevivave ed? .emit edt to adasuetivess Isudos eis atin 
site 10% teedmoo ods at yino toa .s981 heviesdo ns af deodtil ; 
etiosa ods oi seiwotkl sud .enoitan Yo sontteixs ens ni soned ee 
‘wasdisg aivdoidw no ,aem to anoteseseog Ieusoeilaiai edd tor ' 
 -sbesoato ei baidaeN .noitesilivio to seis0o exitne sdt seed 
_ Se -veakd edt to traiqe eas of coksicougo af olyfoaiig 6 OF r 
 polyse ipotsoseiad ianotéibars of% Yo aoidoezer eds dtiw tuk 
dottw ,at0d soy toa exr]en boizeq 343 oF beting amtol Levbivibal 
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no adores ecolsesa o6% a1, seogyd asi steers Jexil sauna stsdae 
- oteom eds ssdd ,Lavoten usw Sf ,ewzot wou 19ste Quiveise dae 
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< bingeeP saciid? dnenawisa bas wen 838879 O13, bDess0E7q BtOW yOOT 
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i beissace ybsor{s. erosawonai seebled eis lo wsfosio sad ait neve 
Ne omen ods ot Jadt ,sotsoivacs edd vd besaoqaue .ssaexivoisban 
/ ewoffoi ylevoivera eelgtonizg hovers eds to: Leetovet 10 Lsineb 
| ~ene1 5 40% aebiuk won bavol tou os emtol Larsecetidots ai bs 
eeencnese at oeis dedé bas ,amsisoiq arebow io aorvulos eldane 


a yy oe 7 


ee 


$08 .ents esdd to erway besatiopen lon sew vyivoié ,aotsas 
: wYedies done. qoenes eds nbielyte atobom's to aaissoes of3 woxt 
gas oF. eeedevatae paapen sported ig borodans ved ew aidd 970 

vii ‘A. .bevomex ish ilive 
fivse 102 oct loo bert 
od eit s8 vino basse 


eo 


333 
first in acute opposition to the further employment of -histor- 
‘ical style forms; but it appeared but slowly and enly after a 
strong contest with the conservative forces of architectural 


‘@ereation. 


Tt is a well known historical fact, that great movements, w 
which had as a result a thorough advance of the nations in in- 
tellectual or artistic life, always went to the last extreme, 
which originated the most embittered strife between the best 
men of their time. But the decision of the questions in disp- 
ute did not result from definite principles, but in accordance 
with the actual requirements of the time. fhe survival of the 
fittest is an observed fact, not only in the contest for exis- 
tence in the existince of nations, but likewise in the strife 
for the intellectual possessions of men, on which is perhaps 
based the entire course of civilization. Mankind is ofposed 
to a principle in opposition to the spirit of the time. 

But with the rejection of the traditional historical styles, 
individual forms suited to the period were not yet born, which 
could be set directly in their places. Sculpture and painting 
found new ways in direct association with nature. But archit- 
ecture must first create its types. In the restless search a 
and striving after new forms, it was natural, that the most za. 
zealous champions of modern aims should first so to the extre- 
me, and give their requirements the rudest expression, before 
they were precared to create new and permanent things. The 
oscillations of this movement now appear to have reached their 
greatest extent, and to strife for assured starting points. E 


Even in the circles of the boldest innowators. already eppeared 


undercurrents, supported by the conviction, that in the mere 
denial or reversal of the ground principles previously follow- 
éd in architectural forms are not found new guides for a reas- 
onable solution of modern problems, and that also in this way 
the spirit of the time obtains no generally intelligible expr- 
ession. Slowly was now developed a clearings of the aims. But 
from the securing of a modern style in the sense, such as bef- 
ore this we have employed the conception of “style”, we are 
stiil far removed. A uniformity of expression in form, a uni- 


‘fied feeling for style is scarcely to be established. We even 
‘stand only at the beginning of a new development, and in the 


a ee a 


i a aaa ad at ‘i . oe See mes 2 i 
wes, "i ae WA ? , 4 


-fufteb wolfet bas esinvoosy yino oso e® (smemoneda edz io w#e 
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Tso) ,aottibseiat to inehregebai ,Saomseers bos gotisse ic 
ae bites * ,elys@ arebo’ sit to JnemqofeveG off -.I1 
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=O BAI YS BHODoend Imrutostidowm seodt noge nolsnstin azo at 
SAS YO Bedsos los sxotosnos Oo Adis KoldAg mE  bOtNea tasoeK ts 
ai Yer ebom cen o ni) beczesauy 9% nedtaqsonod wen s Isotrot sid 
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| ere pisssio os ,sidieaeg es sianie es oelaed seom $1” .snneil 
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dar bsesssoxe sd tepm essnstsisagotqak "R * .“santostifoys wwW9 
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- sostetsse s soubosg ov ois: 3i omse odd Th) exodwem adi ile nk. | 
 ) ab serth seil yeesed 108 ance ofsodsee ns si Josette yrx0d 
een dose saps ss 2aaa tdpnar alge 63 To denis Learesat eds 
“noivonet s¢inktes « Yarecoasoa s18q 
; sm 2 set woh soneszocst fsead eB aatetde noisourdecoo ads yd 
Stioiad 919 ad ev: ae esbsoe1g ¥I’ . doom 
‘ ey q : 


2 


334 
sum of the phenomena, we can only recognize and follow defini- 
te similar causes, that give to modern architecture still an 
individual stamp, chiefly in the first stage of merely person- 
al seeking and treatment, independent of tradition. 
IT. The Development of the Modern Style. * | 
* When we speak of the “modern style”, we leave out of cons— 


‘tderation in the following ali sttill abundantly appearing wor- 
ks tn the architecture of the present time, entirely er prine- 
tpally designed tn the historical sense. We rather coneentra- 


te our attentton upon those architectural creattons of the mo- 
st recent pertod, in which with a conscious ‘rejection of the 
historical, a new conception is expressed in a new mode of tr- 


eatment. 


It was natural, that modern architecture commenced with its - 
first reforms, where the 19 th century exhibited the most app- 
arent weakness. This in general had committed its greatest 
errors, that in the endeavor after correctness of style, it 
had subordinated the most natural basal requirements for every 
architectural creation, abpropriateness in plan, construction 
and architectural form, and the resulting reasonable employn- 
ent of materials to the architectural appearance. The modern. 
architects now placed just these principles as the primary sr- 
ound Péequirehent in the’ foreground of their creations, and th- 
ey emphasized these from the first to the extreme consequences. 


“The modern architecture of our time seeks to develoo form and 


motive from purpose, construction and material”. So says one 


of the most influential of modern architects, Otto Wagner ‘in 


Vienna. “It must be also as simple as possible, to clearly ex- 
press our design. These simple forms are to be carefully adap- 
ted to each other in order to produce beautiful proportions, 

on which almost entirely are based the effect ofthe works of 


‘our architecture”. * @ Appropriateness must be expressed in t 


the general. appearance of the architectural work, as well as 


‘vin all its members, if the same is also to preduce a satisfac- 


‘tory effect in an esthetic sense. For beauty lies first in 


the internal truth of the structural organism, each separate .)) 


part possessing a definite function and expressing: it. There-_ 


by the construction obtains a basal importance for the treat- 
ment. It precedes this as determinative therefor. The mode 


-ighe ods to teit yd beotsomieq ei: tostiniow ods So sagvons io 
Oeis ci ysilided ine bos divas steani 103 beawsb sis sof 1192 
Vicives of elsirsre® odd to sau bas aossoedee edd ao baasc 

) diwoueds «6 eeserod secu sootidois sds easdt of bishe1 or Fi 
sstidsice doidw .elsitesaw edt to enoitioge1g odd Te exdeluomd 
-idweg dvi¥ .sesdt ot R0ibsoges1109 Tuemsisort Lsoitostg & aod 
6167 ean Soemetinper eidt to &nitaecos ois seban yarsae islso 
“to etetveiidors eds to eaokeesetkenerd seats eds od obsm son94 
Jade od3 to J1H<004. to noisssin’ odd Ht dads ,yiwsneD dg CL os 
=qedeb 16% beteluoliss yisos1ib soso boyoique esswivewoe adusts 
t yd wRoyotans (siveter ond no dsazsigmi mobfee toa bas .woit 
-9@2set0loo bas emrol Lsisdsnas seo odd eosiiosm to bie ods 
—sehiuseq sid got soneupsenoce idbia isin sivesa wod taum wiot 
e008 daiw toemsse tt aatbnoozext09 s. bas Isiteten edt to esigi 
» #onts ,ponesste19 edt etiavem vbsetfa ssolereds tiow. baedt odf 
—she bisods-bas .acottse1e Lenoz19q io wisdo si3 e1eed saols sk 
att aoas. gos ylao seum satdosa sdt isenod odet sikwoud 96 af 
“bertesb oft .nottveouboiag to sbhom edd tol eersees afas sisap 
-ss0omq {fA .leivetem odd Io oivten SAT OF BoibeodseTI0O WIC) 
~id ee 14 of .Sausosdidots yo beyaobs ed seom soindoes io Bee 
-divifiletat erv0m 6 toi ,neivefes veolomiz s 10) ensse bactis ys 
“(Of ste ‘eistaetan wea more .coieesiaxe to shos ‘uttm bas el 

. fsastven ares ni benfesqoo sewiav ielisveed.ias wea devised sd 
‘yew eiolon off .etoios rieds of ylisivotiasq: bus .eonsissqas 
bro9noo bas yaowisd Saiouboig TOT anses Insds00H{ ad vileisnes 
-st0iistsi to ius aaebow oft To soivase. edt ai siuass@ doia af 


wievisae ed Jonneo si Ti cove .taeDEHIO BH9 YIETIOGS GOT a0, 


-9t sad io oonsibedo fefineses edd haided saites gaum .hsising 
sie siventse ons baided yirelvotéises bas .Btnemerivpss isoinde 
-Gisirstewm ods af berietaoc edoei 

-Sassuua8 Bi oihaieaihhld Dey stoovlos® weesiee .sengnk o230 ¥ # 
sPAeuoqystt? Aqesol-ees ecik .B80RE .ommegV 28 S(eh .8 .d0¥ 
Pe) oe) ROAD LEtegbed .scpunege8 web gent ebnewiis 9f€ 
 eariqne yossals psd w8qmee. Levon son ets esnowsxiucs1 sacd? | 
~bDbos ,(886 \S8E epee) mons betettenomed yldauoso0s bi® bext 


‘ asw odw (586 ogee) ehavoM seilii® ;(6R6 sae) eiden® estwen - 
‘gwoberd noersds besad) bad FOS!l+O66! af Weiotase® s yiovw! cede. 


epg tiee «-adeta hasibaB afi ddech yeixod ni saved 
st teow « ee ee ydsteds .etxon Leia 


»* 


335 


of thought of the architect is permeated by that of the engin- 
eer. ‘But the demand for innate truth and suitability is also 
based ‘on the setection and use of the Materials, To satisfy . 
it in regard to these the architect must possess a thorough 
knowledge of the proportions of the materials, which establis- 
hes a practical treatment corresponding to these. With parti- 
cular enersy under the accentins of this requirement was refe- 
rence made te the great transsressions of the architecture of 
the 19 th century, that in the imitation of the art of the an- 
cients sometimes employed means directly calculated for decep- 
tion, and not seldom impressed on the material employed, by +t 
the aid. ef machines the most unnatural forms and colors. The. 
form must now result with right consequence from the peculiar- 
ities of the material and a corresponding treatment with tools. 
The hand work therefore already merits the preference, since 
it alone bears the charm of personal creation, and should aga- 
in be brought into honor; the machine must only act upon it, 
where this assures for the mode of producetion, the desired 
form corresponding to the nature of the material. All preces- 
ses of technics must be adopted by architecture, so far as th- 
ey afford means for a simpler solution, for a more intellisgib- 
le and @odern mode of expression. From new materials are to 
be derived new and beautiful values contained in their natural 
appearance, and particularly in their colors. ‘fhe colors may 
generally be important means for producing harmony and concord 
in rich measure in the service of the modern art of ‘interiors. 
On the contrary the ornament, even if it cannot be ‘entirely 
omitted, must retire behind the essential obedience of the te- 
‘Ghnical requirements, and particularly behind the esthetic ef- 
fects contained in the materials. 

%* * Otto Wagner. Skizzen, Projecte und ausgeftihrte Bauwerke,. 
Vol. 8. Heft 35. Vienna. 1906. ‘Also see Joseph Strzygowski. 
Die bildende Kunst der Gégenwart. heipzig. 1907. 

fhese requirements are not novel; Semper had already emphas- 
ized @hd thoroughly demonstrated them (page 323, 385), and li- 
kewise Ruskin (page 343); William Morris (page 346), who was 
absolutely a Gothicist, in 1859-1861 nad based thereon his own 
house in Bexley Heath in England and his path-breakins indust- 
Tial works, thereby producing a complete reform of the English 


iuacedt. 30 18 to Goisqeousy ods BEF abel 4 esisdacdai tv 
 dobde .snepevou arebos e13 to Aner tnoat 903 at duibcess sive 
Mgide.bus .2teit18 besoisnen excised edd To tals sort aseisib 
etined adoosisoss asobom jadi elds ai wisisasseove adeienos 
so ,oldigeos teomts edt dtiw seiqkootaa bawors eeeds ittini o@ 
Yohei: ,  semrel. olives {eoisodend [fs io aolevious s1ivoo add 
ed yeu 9303008 ids ai Joowevos stebom oi3 to ebaianrsed sat 
“§999 deel edi to acivesia sad to dneesonemmo9 eds O13 bextVete4 
qe to acisinkoses odd jimieq edgmedss Jerti eds ybserih «tH 
to ylselsoisssa .dbevolqms yiasoiveid olige. sae edt, oi aortizeoa 
edd most tedts1 bebssso1g ysdt eqedasa (eouseetsmen Abid Sie 
besebbenoo few work neds r9itsa1 .yiewodaus 903 OF moksieoago 
~sae% sesibse ods yinisiie2 .velyse fpoitoteis to s20f3asoneo 
-sfisent as at eonseciaoes sd3 io evdeisggs wi0} edd To enoitsis 
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~tiot s09 -eweiv soetse atebom to veovonom bsiaupeny as beond 
Widemmye evs yoousseienoh.ods io colqionixg bave1g edd revo bs 
soe sodi{keitspsootidns eii seve .ereb10 9d lo ytisevos 208 
7903 baa Us, eids et sonsvhs Jog bivoo eno fend ,eTsHe GAGooG 
dered? .emiot won ylerisas of aevo bee2sa, vilsubesa s10i6% 
i 8ti ti aebaow on bas .botqeogs yiini een nobesss OLdeli1s ond 
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+ »s@9eeelo evisnesxe feeinqmoo yheerls bas ti .ytwsaeo oa 
stvolesoe oft yd beliso.,vyeoloo setsae sad L061 rsey add al, 
~ Fo sagud Luo eet odd tot oeash to Siwhud deous! ofnh dner2 Sa 
wfkdtek eis 20 aoididinx®. est housge sist fags sid ni 318 n1Sd0m 
_ wdind beswoons ybesefasoo io 1900K0.5 sl. .sbstearsG at {lia ed 
edd. dotdwrenome .woivequooo bas eet 301 ybser boyscts .ebarh 
eosia sastsoqut teow edt beiawoo0 ylimei sisnie © 101 saved 
— reb-odT -anotsse% Teds to Roky s evAR edeioxe theteared, ods 
dfx, 84% 20, oslo {sqoasp odd toasts 
2 edd 26 Lloweas, caaidlivd eid to 29d 
ie eet a 


338 . 
art industries. That was the conception of art of the archit- _ 
‘ects standing in the front rank of the modern movement, which 
differs from that of the before mentioned artists, and which 
consists substantially in this, that modern architects desire 
to Tulfil these ground principles with the utmost. possible, or 
the entire exclusion ef all historical style forms. 

The beginnings of the modern movement in architecture may be 
referred to the commencement of the nineties of the last cent- 
ary. Already the first attempts permit the regognition of op- 
position to the art «style previously employed, particularly of 
the high Renaissance; perhaps they proceeded ‘rather from the 

3(fopposition to the customary, rather than from well considered 
conceptions of historical styles. Certainly the endless repe- 
titions of the form apparatus of the Renaissance in an inartis- 
tic,spiritless and frequently entirely displaced imitation pro- 
duced an unequaled monotopy of modern street views. One. jolt- 
ed over the ground principles of the Renaissance, the symmetry, 
the severity of the orders, over ‘its entireorsganism): ‘but soon 
becam@-aware, that one could not advance is this way, and the- 
refore gradually passed over to entirely new forms. Thereby 
the artistic freedom was fully apcepted, and no wonder if ‘it 
at Tirst put forth quite doubtful flowers. To novelty and in- 
dividuality was much sacrificed at the expense of the beautif- 
ul; with crude and momentary flashes not infrequently commenc- 
ed a bold play, yet the best balanced championsooft thesmedern 
art tendency were assured of loud approval of the technical 
press served by them, as soon as they even brought something 
“novel” and not yet existing into the plan. In the rapidly 
living time the movement progressed mightily; about the end of 
the century, it had already comprised extensive classes. 

In the year 1901, the artist colony, called by the art~lovi- 
ng grand duke Ernest Ludwig of Hesse for the free culture of 
modern art in his capital, opened its Exhibition on the Mathil- 
de hill in Darmstadt. In a number of completedy executed buil- 
dings, arranged ready for use and occupation, amoné-which the 
house for a single family occupied the most important place, 
the Darmstadt artists gave a‘view of their creations. The de- 
Sign of the Seneral plan of the exhibition and the greater nun- 
ber of the buildings, as well as the superintendence of the 


) 7 iy 
Vt Pep ieee 
wee oe P 
aE oe Work apy as 

rat: is . 

* ; , k 


.- 


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| -ttie@ ese? ovsolstss Leqiontxa ofg mT .setatnnos eeods si 61 
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_ @wustboIg Siteitis Yo bait s ,eevod awo efd Yo agitgineged sda 
. bas mei ods sot vlaisivoisisa bas , Levene ni sapsoesinors 101 
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to se1voo eda mi vaentl ehigh o¢intieh bas emte bexrt boristdo 
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) edt devo yIotorv sicdetestaoont ne seintasbat dys edd ot ovls 
easy edt lo esionsbret ener bitsool-beswiosd yisviselozrs 
t -¥IGINSS 

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to soktvoete ec? .eoevotetew ond .esfee odd a0t seofit sedd bas 
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odd .yousbned nasbom edt to etmeretivoss Isesd odd .enocessa £2 
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| erose suet laa pevteos meets fevon ylerivas af ° 

otis ho nodsantit re emmegacaer be: teow ede betinpe: eaw aids 10% 

; city 9am edt sot) vo fteI0E 


a 


7 


) oid mi esw sionm ) Mf 


Oe ate hte ee 


337 

444 whole was in the bands of Joseph Olbrich, who was born in 1867 
iz Proppau, had received his training in Vienna under Hasenau- 
er and Particularly under Otto Wagner (page 835), and by jour- 
eys in Italy and Brance had become acquainted with architectu- 
re in those countries. In the principal catalogue Peter Behr- 
ens (born 1868) gave in the introduction, to which he prefixed 
the description of his own house, a kind of artistic programme 
for architecture in general, and particularly for the plan and 
arransement of his house for one family. This exhibition aro- 
used vast attention; it denotes a landmark in the development 
of modern art on the continent. Thenceforth the new movement 
‘obtained fixed aims and definite guide lines; in the course of 
the succeeding decade it won, not only in architecture, but a 
also in the art industries an incontestable victory over the 
exclusively backward-looking style tendencies of the preceding 
century. 

Until now the modern style has chiefly appeared on those bu- 
ildings, which presented new problems for solution. In the f 
foreground stand the structures for the industries, and indeed 
first those for the production of sgoods, the manufactories, a 
and then those for the sales, the warehouses. The erection of 
manufactories previously belonged simost exclusively to the p 
problems of the engineers. In them already for purely busine- 
Ss reasons, the basal reauirements of the modern tendency, the 
suitability in plan, construction,and the employment of the m 

, materials, came to a severer execution; these demands formed 
the fixed and determinins basis for the plans and calculations 
to be made by the engineer. The manufactories also had earli- 
est developed the method so stronsly affecting the structural 
organism, of concrete reinforced with steel. The new concept- 
ion chiefly expressed itself on them in the abandonment of the 
former structures like barracks, in favor of architectural ér- 
oups; for men saw the grand effect here Gesiréd, no longer in 
the longs lines of facades with many stories, but rather in the 
alternation of separate structures, (tasteful ‘in mass, height 
and treatment. 

An entirely novel form was received by the department store. 
For this was required the most advantageous utilization of the 
interior for the purposes of storage. exhibition and sale, for 


: ryt ese Wsseiitintestl chase hae aeeetero. sasinevace 8 
Plats avin ais bas sd8if to acteetmbe Saibaogest40a s .oil 
att to ‘govoutsqa ed? tol eliew 2afeofoas eds to noisesilita d3 
 beaofeveh caw cobavst sdi sot qlsaeypeeno® -wode bus anisas 
-ege ifew odd to sotdicco7y sdf  emetoe Isiutoedidors Levon & 
 poktea! sonseeisueh ot Qaiaob bextt sosiawe fiew edd of 2ouin 
* \eetdote towol edt ot yileioseae® .eidbegoumt ifeasi bovorg 
© ed¢ eudd bas .cldteeoq es eg1el es obem sd teum awobaiw sas 
en? of boouber od steum eticcqus es tteL aqgiase Lisw aetaisusr 
“Lersesgem Leausiouate s betetio lees? .sldiesog etinii emordxe 
no’ybsexis sud .enols ifeesi yd son tay .eind i0t etstraoiges 

' to anieso s atddiw .91it of sonsteieed {isms asi Io Javooos 
+89 diiw belim séss10n09 efits sof .enote (siotiitus 16 Leaviso 
ti conte .Letacsem tnelicoxe ns bebsetis [sveis bas base doom 
‘pe otnk [este dtiw Qaiaidmoo ic yiteqo10 hanisy ead besveesod 


ong to: costave extias ed? .sonetdeiess d&id to yiiaw oinesto \ 


-dwids edddied ody te bas .steiq osar Sevievset asdd asw spsoat 
\yebsol atedt Sas amsed Lanzesni ent svisee1 of bed seeas fict 
_steton0s beorotuier lo emsed Letnogisod ya besosnnoo sew Yens 
 & gfeatsae siel: dotdw ,wotsoerisnoo notdelete « Sniatatdo aud 
[etnosivod sat bee: sista ety seconded Sniyi seostave gd set 
~sew ut .esiaode as0gy edd nic aso edd yliesoneg e8 TL -smsod 
pedd .ekninasaqo segild ai wobhaiw oltnie 8s basdxe oc Hetiesb son 
-qofoeveb ssx aud? © .ytens1t vd noteivibdue @ pernet1e 90° Oiveo 
-itod sdt od boiita yiseoio ei dofdw Hott quIdeGOS to ebom s 6s 
eted e1s9c0s si su .(83 ebea .S empiov) wsseye seetddud of 
-sioant Jzom odi to eno lo notin log snebseaebat ne es yisxisae 


tm eeail bnvors ett-al .easdoesinoas niebhom io emeidors tas 


gpmtol .f. yd bedoeve Snibitud sstTio seeniend ead ox bavot 26 
. Bboeaiss® wo to smea edd seban nwowd yilersaoe .SVS! ai wed 
~Bi@ 7O26 sheq) cobaod af .2% Ifensebss§ af ynequo8 gideusesé 
-scedetenod 5 osni yvasaxs§ ai’ dbeaqoleveb deri? asw di auB = .( 80S 
--tbfLind ovitssro [sytoes eT .agotaye isxgsoesidore besyosxs vi 
-u6 ,nilted gt miodareW (erote tnemsasoeh) sevodetew odd ef 20 
-misG ni C88L. o10d) Leesell berkia: yo OOSI-SE8I cisey out of SLi 
(628) ogsc) dos17@ VB fo Lkanq a .(miksed ni OLCL bedb .Jbase 
ot .somsig serrh edd Ja castes’ sad) ni esonves oiddod sat 
bas enact Levon viasmmenbiaed -ebsoat nian ens to elietebd eda 


Se ae aD 
= : LO yo . hee 


To. rr e18 .esvitom otdsod 


. « 
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ry % 


Pe 
ae 


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ee ee ee ee ee ee, | - 


Bay a 
ae 


338 ' 


@ convenient, everseen and easily controled access of the pub- 
lic, a corresponding admission of light and air, and a thorou- 
gb utilization of the enclosing walls for the purposes of his- 
Shting and show. Consequently for the facades was developed 

a novel architectural scheme. The proportion of the wall ope- 
nings to the wall surface fixed during the Renaissance period 
proved itself impossible. Especially in the Lower stories, 
the windows must be made as larse as possible, and thus the 
remaining wall strips left as supports must be reduced to the 
extreme limits possible. Steel offered a structural material . 
appropriate for this, yet not by itself alone, but already on 
account of its small resistance to fire, within a casins of 
natural or artificial stone. for this concrete miked with ce- 
ment, sand and gravel afforded an excellent material, since it 
possessed the valued property of combinins with steel into an 


*>/ organic unity of high resistance. The entire surface of the 


facade was then resolved into piers, and at the heights at wh- 
ich these had to receive the internal beams and their loads, 
they were connected by horigontal beams of reinforced ‘concrete, 
thus obtaining a skeleton construction, which left entirely f 
free the surfaces lying between the viers and the horizontal 
beams. If as generally the case in the upper stories, it was 
not desired to extend a single window in these openings, then 
could be arranged a subdivision by tracery. Thus was develop- 
ed a mode of construction, which ‘is closely allied to the Goth- 
ic bustress system (volume 2, page 78). But it appears here 
entirely as an independent solution of one of the most import- 
ant problems of modern architecture. In its Ssreund lines it 

is found in the business office buildins erected by R. Norman 
Shaw in 1872, generally known under the name of New Zealand 
Steamship Sompany in feadenhall St. in London (page 349; Pis. 
293). But it was first developed in Germany into a consistent— 
ly executed architectural system. The actual creative buildi- 
ng is the warehouse (department store) Wertheim in Berlin, bu- 
ilt in the years 1896-1900 by Alfred Messel (born 1853 in Darm- 
stadt, died 1910 in Berlin), a pupil of H. Strack (page 286). 
The Gothic keynote is here apparent at the first glance. ‘In 
the details of the main facade, besides purely novel forms and 
Gothic notives, are employed those of the Renaissance and the 


ee om 


3 en = ‘pemee nie metaeds0 fanreito sot nort nlnucte oie youd 
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sepiet edd iis yiisen al § .LigienOto entot ofat08 yLieido aad 
“e6¢ dotdw ao ,betentaizo sonie eved estode snenssegeh esisio 
ns ddiw yiete1 gon bos isanem Lebom e ni beooieveb Bi cave waa 9 
<vba yittventbaoasqxe ah .ewi0i [eoitoderd to aoisoste1 etitase * 
-a88m geentod sosiuvs [iew eds ie oninedo edt af Siowexe hHeons 
+96 ea% to Saol .¢t B.S shsoel odd ud betnoserd ei er9ia evi 
bi vine miles ot onesssetesisgied at xstet? sx0ts sasmdise 
i hy . (608 .949) gSeiade® Siadatsd od | 
ies sxove dnemdxeged sdt Yo meters L[eantostiddie eaP ri 
~Zio sevpisl odd to eanfiliud eeenteud aeddo sda of beaselensiW 
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te noisostors 6 oF ebasi sisd Toorde odd to wetv cldsrovel ta 
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bas taoniworg s .10GL-O008F ai bogoste .dotnww nt QausisN soten 
\ Pittes -(BOE Lert) .deid efdd to dsew bevotegs owas 
“aa 2 twows s6 odd .yutenbui sot eaatbltad adz.od tx94 
~ostidow misbes af noitraoqg Tasnimotd teow ant estavooo beeoai 
feds ogfe etd eedived bus .detland ede sdped Joonsi¥ venus 
~eftat, yiikin s bearsxe\ ered over jexvsostivore naoitemA Tess) | 
“PAPEL Yo eeoook ott Hiolts oc .evets ee Eiew as oteh .sdae 
eyoloe doidw ,wekhish B nerodo ef este Retbired' es 6s ake bre 
10% exoteaedt -eomensdnies ns nef af coisnesss telvdisiag 
) | > iy) ie area 918 esitio asdisl eda 


ray 4 


SF 


339 : 

Barocco, but which produce an entirely nowel impression, since 
they are detached from their original organism, and here must- 
assume entirely different functions. The facade toward Voss- 
strasse represented in Fig. 302 and executed in the year 1900. 
has chiefly Gothic forms pfudetail. In nearly all the larger. 
cities department stores have since orisinated, on which the 
new type is developed in a model manner and not rarely with an 
‘ entire rejection of historical forms. An extraordinarily adv- 
anced example in the openings of the wall surface between mass- 
ive piers is presented by the facade 249.4 ft. longs of the de- 
partment store Tietz in heipzigerstrasse in Berlin, desisned 
by Bernhard Sehring (Pigs. 303). 

The architectural system of the department store was also t 
transferred to the other business buildings of the larger cit- 
ies. Indeed in most of them it is not carriedroutiwith entire 
eonsistency, since as a rule mreat openings for shoo windows 
in the wall are only necessary for the lower, or for the two 
lower stories, while the upper stories are used for office or . 
residence purposes. Therefore here is found instead an approx- 
igation to the architecture of the dwellings built in blocks. 
The division into rooms permits and requires broader wall pie- 
rs between the windows. The need of light and air and the mo- 
st favorable view of the street here leads to a projection of 
certain wall strips, or of all lying between the piers in the 
form of prismatic or segmental surfaces, or even to the -inser- 
tion of a series of windows occupyins this entire width in ea- 
ch story. hikewise for this R. Norman Shaw save a model in h 
his New Zealand Ghambers. (Fig. 292). On the continent Martin 
Dilfer (born 1859) created in the Office Building of the Allge- 
meine 4Zeituns in Munich, erected in 1900-1901, a prominent and 
much approved work of this kind. (Pig. 304). 

Next to the buildings for industry, the citizen’s dwelling 
indéed occupies the most prominent position in modern architec- 
ture. Without doubt the English, and besides this also the 1 


4.5 later American architecture, have here exerted a mighty (influ- 


ence. Here as well as there, to afford free access of light 
and air, as a building site is chosen a garden, which enjoys 
particular attention in plan and maintenance. Therefore for 
bhe ‘larger cities are developed villa colonies outside the in- 


ee 


ce penn .Sonetnsyo909 estén dansonie jt it eee edd ew 
 -n99! end Roisdioswsa Juodsin .Elinst odd. to shesa Laubivibai sdz 
m9 od? -fondaoo of sheost eds to-tnemtseat ods Yo anoidsisbhre 
@)-eluditesy 10° Lisi cas vd bemaet ef oepodsedt Yo: snioa Iszé 
- $dd bos exedusto eterscee ods CeAnetts ote tf 7xeR :(826 opeak 
~ (wedodrd sda vieeigoitess) aeétel oad as 12% o8 ,emoos Saivil 
89007 Beigesia Bninicdido 10% -tnewessd edd ni bedsool Joa ox 
emoo: Batvil bus sfinenve brinzom oad ye beasiase od ifiw dotds 
no tooltne eds base ave edt oF brsge4 ddiw nottsool seed ens ak 
#8 boe ewobniw yed bso1é. .neisd ei ois Jse1g .cqsoehast sid 
-o0°s8 weds svic bas emoo1 edi io soneinevago eas oonsdias BevOd 
‘ ydebeteluze2 oe ak THRiL io noivetmbs ent .rasdosisd9 sition 
-moréieod tisds of Souexsiex ai ewobaiw ofd to duomeRoevss ods 
-gakbipoos :.moo% dose, 10% efdssine seom meee yeds 2s ,wiot bus 


-yidstovel ei tofsegar eds Lo gcifeet eis bas ,sa0qiwe edi oF 


most tineet etoob edd to enoitsieo odd seinedid .beoneniinz 
jeetneolsad ous eoostte? Io ensse ya seed oF bisg9a inierss 
* fooo-bas geoeiq sett bas yuaue sediniw at Jedd .moted ai eaKo 


goésoennoo séssis0 6 Jaks Oboe ,basmmod ss s1g rsMmHHe at Beno 


edd gniveot ylizsessoen, tuonsinw .beoubowq si mebase sis avin 
<Sn0 08 esnoesnass Yritiowd giebom edt teivedxe:odd 10 .ognod 
\ gommoo ylteom bas asifzes od? .weiv isansoszvidors wen ylers 
-genave vldsizevet decnia oases: .becqosb ex miei xod Lesistemoss 
«soo nsiq banose dz? io sotduloe to.ebom exaisns sdi yifow es yt 
ae base eoeess Lesudossinowe edd to Inewsssxs aoxl yisv 5 sisa 


» i eeonebiaes seeds co cov. stasmevow betsmins asin eniitso © 
.dnemedasiis edd ,beaisies si oro hovers telyzasdoss odd dotdw 


-o% edd to exsol sat dae ewobain ysd ,.swobsiw .evewioo0b adi to 


buerxe. eidersissa efsitog edi .noressaqmk Levon s.e0gbo1q Jo ad oan 


9° 0d S1eMEd Sitynt OF SeMOe SiadI9O & AE JebIE AL .YiisaIsd KE 


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} ‘ateds besado éved ewobniw edt .(806 (808 .ebs8). vewioob ond 
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Noe yehso82 edg aetaatwisd soinieo: toot ed® .a9sido dose obits 


eel) wobsde qecb 8 Bnitess noisoe~oig fsmosstod 8 Asim aomtaa 


bevTs9. 6 oui Baieis eemitonoa . (ELS 


“ « 2 bo! A Aon ia% 


anennrareny enter” obese. nein 8 re 


340 
internal domain of the city. The grouping of the rooms follo- 
ws the requirements of suitability, convenience, hygiene and 
the individual needs of the family, without permitting the con- 
sideration of the treatment of the facade to control. The cen- 
tral point of the house is formed by the hail or vestibule (p 
Spage 345); next it are arranged the separate chambers and the 
living rooms, so far as the latter (particularly the kitchen) 
are not located in the basement. or obtaining sleeping rooms, 
which will be entered by the morning sunshine and living rooms 
in the best location with regard to the sun and the outlook on 
the landscape, Sreat care is taken. Broad bay windows and al+ 
Goves enhance the convenience of the rooms and sive them a ho- 
melike character. The admission of light is so regulated by 
the arrangement of the windows in reference to their position 
and form, as they seem most suitable for each room, according 
to its purpose, and the feeling of the interior is favorably 
influenced. hikewise the positions of the doors result from 
careful regard to these. By means of terraces and balconies 
care is taken, that in winter sunny and free places and cool 
ones in summer are at command, and that a ceraain connectéon 
With the garden is produced, without necessarily leaving the 
house. On the exterior the modern dwelling represents an ‘ent- 
irely new architectural view. The earlier and mostly common 
geometrical box form is dropped, and almost invariably symmet- 
ry as well: the entire mode of solution of the sround plan com- 
pels a very free treatment of the architectural masses and an 
Outline with animated movement. ven on these residences in 
which the rectangular ground form is retained, the arrangement 
of the doorways, windows, bay windows and the forms of the ro- 


2») ef produce a novel impression. fhe portals preferably extend 
externally, in order in a certain sense to invite comers to e 


enter, and to aiready afford shelter from the weather outside. 
the doorway.(Figs. 305, 309). The windows have chaged their 
previous proportions of breadth to height. They are often ar- 
ranged as horizontal rectangles and preferably in & series be- 
side each other. Phe roof cornice terminates the facade, som- 
etimes with a horizontl projection casting a deep shadow (Fis. 
313), sometimes rising like a curved gable, and particularly 

So when attic chambers are arranged with windows in the enclos- 


i 
a 


eases deceian: besoesosa (fe¥” ey Saneaved ofa Quisanin 
-: jeoustsecas vibaeta2 s gi evig bas exsot eexevid Jeom odd af 
| =s8m Od Tot) e189 snsbavde os Ratssobbat ,evenmido odé eetwexts 
fib bebsfont ets bas looteds most Jootesa . smoot! ods te gnia 
sot betoeloen as. betesaqge yitnsype1t eeodP .wotv [eqisas® ond 
 -om Lgnitiev edt to susutasis sc? .nommoo seilase netneaio odd 
-[502BRRb on stnseexs eiste bas awobsiw ead sdJ ai gaivos ovis 
Pes yisoetih seeds sieent yods wetoedidors gishoe team os Ys 
bedassetban .to01 eit to nofsoscore sis sole mond Godse yiqure 
‘betuogass ifen yilsotaioes A .“es0t0l sit Yo aeiteshane”™ sad ye 
«tg geesh obntt erssoesidois nusbom dotdw at .anixetusia dane 
~esen [etytostiaoiws besbivibdse yitnouosst ong esniduoo .eiess 
,beatecd ef sooetise ods to gotsemins ss008 to .Ysiaw 8 oFHi es 
--ome bas davot to 10 . dash fas sdgii to aoftensetia os abdistte 
-nesseqge isatetxs sft of Suitdosl [lite ei teck .asoatase avo 
 *0itasa/ozis .gatsoloo fuledesd & yd aiette of Jike0s Bf ak 99 
- edd yosme® al _egatbavori.e edt tag0006 ogni Roaiisd ylislis 
shime esi 108 ynoloo shedemied off ya botoex9 Bseoasiice  yilost 
| Bedgoers vyitneteiéaoo secifises sit ets [ORL resy ons Io noisid 
- eemaed at sened aefied edi 808 e869 '. Gabe ateds Io eynroline 
“-9axs Oisveiaséoaisds Ss zevis arene dgéeol vd bsaatest .ddad 
Sa itas | | eins tovele 
eit beeeotass si yidaensrre bas gitostid .gisneise stem IsY. 
 eooeb Jeasetai eds ak: gacloo deitus JbssencaG oda Yo sononl tai 
“13 8 esvisos1 2002 doeu sesg0d sdzd To Jasmegneits bas goiter 
vino son ebnesxe dotdw seeogrng ett ddtw soasbroone oi Jasetss 
.eissinigy eid ot oble tue ,o¢e shaifies .si00b .eilew add) 08 


Levan ekew'od tebso al .¢ottoeseoos ile base exaskasd .ekod 


 fotdw .etasmehassas eaods: .noisers00eb betoensoo das boiling s 
-k9ecse e047) .eldavow as’ boise sdo3 S6n 918 sisssn aisdt yd 


+ 
he. /efiveos .9%8 SR810%@ iol esdotbhi6w bas eteodo sussinzst odd ylis 


_ pesoenn0d eisnsasmisqiets saiwirenso 70° aks teat. as betsems 


yA Faterannnonsesyis iosvent: ai oot edorsqee dost. .ifse eds dsiw 


roles betoolse. yl 


341 
enclosing walls. (Pig. 314). Phe uppermost window openings igs 
this case generally have freely outlined forms. (Pig, 304), 
The roof attains a previously unknown importance: it is apa 
ly emphasized as protectins and warming, a hood carefully ter- 
Minating the housesat tov. Well protected dormers are treated 
in the most diverse forms and give it a friendly appearance, 
likewise the chimneys, indicating an abundant care for the war- 
ming ef the rooms, project from the roof and are included in 
the general view. These frequently appeared as neglected “in 
the organism earlier common. The treatment of the vertical mo- 
tives acting in the bay windows and piers presents no difficni- 
ty to most modern architects; they insert these directly and 
Simply stop them below the projection of the roof, undisturbed 
‘by the “suggestion of the forces”. ‘A technically well executed 
rough plastering, in which modern architecture finds Sreat pl- 
easure, combines the frequently subdivided architectural nass- 
és into a unity, or where animation of the surfaces ‘is desired, 
affords an alternation of lisht and dark, or of rough and smo- 
oth surfaces. What is still lacking to the external appearan- 
ce, 1t°is sousht to attain by a tasteful coloring, also partic- 
ularly taking into eccount the surroundings. In Germany the 
family residences erected by the Darmstadt colony for its exhi- 
bition of the year 1901 are the earliest consistently executed 
buildings of their kind. Fig. 305, the Keller house in Darns- 
tadt, designed by Joseph glorich, gives a characteristic exam- 
ple of this. 

Yet more strongly, directly and permanently is expressed the 
iniluence of the Darmstadt artist colony in the internal deco- 
ration and arrangement of the house. Hach room receives a tr- 
catment in accordance with its purpose, which extends not only 
to the walls, doors, ceilings etc., but also to the furniture, 
rugs, hangings and all accessories. In order to make possible 
&@ unified and connected decoration, these arrangements, which 
dy their nature are not to be treated as movable, (thus especi- 
ally the furniture chests and wardrobes for storase are. mostly 
treated es afivybuilt-in or otherwise are permanently connected 
with the wall. Bach Separate room is harmonized in a careful- 
iy selected color tone, also calculated for its special purpose 
of occupancy, as well as for a harmonious and effective variety 


’ 
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~ bobuett1s 218 isd .cotduil, anitdail ociatoele beiysts1a yids 

| his PAagL bedvdixtaid. yiasotine 5 eagitrh bse aigieg Le1sven 3a 
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do ot agtesb oft) -etolistak esotugursd. to asttea s gaoloo Ip 
 -ssiwedti bas. ,etoftegat to adaesegnstis aii 19 oftetiesoaxs 
by begolevs etds Ba .eiyte a1960m 943 to trs Lanresais eds 10% 
- rears, eomen{tat ede aebaa ylteido ,BMeadt 
p ment ee ett setaab: gaofoo 


N 
Zs 
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v/ 


342 


in the sequence of the rooms. By the monochrome wall hangings 


of edotbh or paper with inconspicuous pattern, over which the 
eye passes without taking interest in the details, a very qui- 
é6t harmony is produced. Aside from the introduction to 6 ere- 
at extent of hygienically favorable end durable linoleum cover- 
ing, the floors have experienced slight chenges. On the ceil- 
ings prevails Sypsum plastering with recessed panels and coff- 
€rs, already on account of their construction in reinforced 
concrete; their subdivision follows with reference to tne gre~- 
atly preferred electric lighting fixtures, that are arranged 

at several points and diffuse a uniformly distributed light in 
the room. The form treatment of the furniture exhibits’ an en- 
tire freedom from tradition; it even goes so far, that the dif- 


ferent articles of furniture are constructed entirely with pre- 
“suppositions, and as if we were at the primitive beginning of 
the art industries. Chairs and tables, which: for centuries’ ex- 


hibited in general the seme forms, now receive new forms, whi- 
ch are indeed frequently surprising in their self-evident suit- 
ability. he endeavor to reject everything inorganic’ and to 
create a unified and simple whole leads to a thorough rejecti- 
on of ornamental superfluities. In the ideal treatment of the 
ground form, the rythmic movement of structural guiding lines, 
that give a living expression to the esthetic problems of the 


parts of the equipment, appears thebest ornament to the mode- 


rn artist of the interior. The beauty end genuineness of the 
materials, @ pleasing color treatment of the same with rich u 
use ef ali architectural products, particularly of the modern 
glass and ceramics with a model execution, on which modern art 
industry looks with justifiable pride, sive artistic completi- 
on to the arrangement. Our Bos. 306 presents e view of the h 
hall in the Gitickert house at Darmstadt, that was designed by 
J. QGlbrich and executed under his supervision. Fis. 3807 is a 
design for a room by Patriz Buber, who unfortunately (departed | 
too early from this life, and that had created in the Darmste- 
dt colony a series of harmonious interiors. The design is ch- 
aracteristic for his arrangements ef interiors, and likewise 
for the internal art of the modern Style, as this developed i 
itseli, chiefly under the influence of bhe Darmstadt artist c 
colony during the first years of the 20 th century. The fxhi- 


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igor auoftevoant 947 worl soRxesasvbe aoka baviish eanrd 

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$a sbsosi bio edd 19600 ,aitasa 944 to Stal oda ao. bas a4 
199 i snoteivibdes ati Yo bas slode edt te exdemaye ao beasa 
st0ituioe vaotosistise 6 101 aeidivoiii£d Jseta bstaecae1q vida 
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343 
Exhibition of Art Industries held in Dresden in 1906, which p 
presented a sreat number of modern interiors of every Kind,al- 
ready permitted the recognition of a seturn to more quiet lin- 
es (Pig. 308, ea Gining room by Bruno Paul). 

Among the public secular buildings, Chiefly the school buil- 
Gings derived rich advantages from the innovations introduced 
with the modern style. In them the requirements in regard to 
the dimensions of the length, width and height of the class 
rooms, the proportion of window erea to magnitude of the roon, 
end particularly the forbidding of openings in the walls befo- 
re and on the left of the pupils, under the old facade system 
based on symmetry of the whole and of its subdivisions freque- 
ntly presented great difficulties for a satisfactory solution. 
#reedom from the compulsion to a regular treatment of the fac- 


»S ade, mostly based on the use of the antique orders, the natur- 


al development of the ground plan and structure only in accord- 
ance with the location and form of the building site and the 
programme of internal requirements, the flexibility in the ar- 
rangement amd form treatment of the windows, the desired alter- 
nation of large closed surfaces witt those opened by rows of 
Windows, led comparatively soon to a definite tybe of school : 
building, that in reference to its very apparent suitability - 
and reality belongs to the best ecauisitions of modern archit- 
ecture. On the contrary, the city halls were relatively litt- 
le affected by the innovations. The modern cities indeed did 
not in general fail behind in the expression of their power a 
and a grand conception of their problems, or in participation 
in the artistic interests of the entire people; they show this 
by the founding and zealous fostering of city museums of anti- 
Quities and of art, among-others. But so far as it concerns 
the city halls, Senerally the citizens’ pride in the native 
art, the regard to the historical presumptions of the city, a 
and in connection therewith the consideration for native (moti- 
ves, especially for those of the German Renaissance held the 
Supremacy over the endeavors of the modern art, entirely lack- 
in presumptions. But the new spirit then is expressed in the 
picturesque Srouping of the architectural masses about e tower, 


happily inserted in the architectural mass, in the omission of 


symmetry and in the freedom and independence of the forms. 7 


oF 9! qe nzabom oda ¢2 boathiones yivaaife god as .19 
iseiuots1sq bas asitves9 ad¢ to sivsoedinoza isaevloo 
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mreto od? .Gngok ased ead séesistedue sootzeq oa ,mol: 
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(OL 

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344 
hikewise the other public Sectlarcarchitecture, so far as it 
relates to the evolution of a monumental architecture as an 
expression of a definite circle of interest, influence and pow- 
er, was but slightly fertilized by the modern style. For the 
columnar architecture of the Grecian and particularly of the 
Roman antigque,corresponding in such a high degree to this prob- 
2>ielem, no perfect substitute has been found. The charm of the no- 
a velty of a pier system arranged in any manner, the alternation 
of flat weil strips with those hollowed inward or swelled out- 
ward and the like does not suffice for this. Therefore the a 
architects devoted their attention chiefly to the most impres— 
Sive treatment of the portal, which attracted the eyes of obs- 
ervers to them. J. glbrich gave a model for this in the port- 
al of the Ernest hudwig house in Darmstadt. (Fis. 309). for 
the later time reference may be made further to the portal of 
the City Art Hell at Mannheim erected by Hermann Billing. (Pigs. 
310). 

Church architecture on the whole appears still reserved with 
regard to the modern movement, indeed that.of @atholicism more 
than that of Protestantism. The requirements of the service 
have not Changed; the Catholic church architecture had already 
created architectural forms in the preceding periods, that en- 
tirely corresponded in purpose to the established requirements, 
while the much younger Protestantism has not yet attained to 
@ typical solution of the problem in its church architecture. 
Therefore its problems lie nearer to modern endeavors then th- 
ose of @atholicisn. Yet there is manifested in the new build- 
ings of churches for both confessions an inclination toward 
freedom from retaining a fixed scheme in the proportions of 
the interior and a stronger striving for unity of the interior. 
The unrestricted sequence of the room and the freer position 
of the tower frequently compels a picturesque effect enhanced 
by the lack of symmetry, such as appears in the (Protestant) 
‘church of the Redeemer in Stuttgart, built py Theodore Pischer. 
(Fig. 311). The ground plan of this church is thet of a rect- 
angular hall with a side aisle and a gallery, with e semicire- 
ular apse. While the architecture here in general also exhib- 
its reminiscences of the early Romanesoue middle ages, Otto 
Wagner passes over to entirely free forms in his (Catholic) 


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ce Soke) safes ‘Xo eaeey, dsiw AowNOD Ut PetousbasT ysem oF ITE 
geri an, a. \ SOME EER i, 3 Pia Galas! 


Nas tet 345 
Church of the Lower Austrian Provincial Hospital and Asylum 
(Gin Vienna, (Bis. 312). It is a domed church with a Greek cr- 


oss plan with the front arn lengthened by the addition of a 
vestibule. The primitive plan appears here in a modern mode 
of construction, chiefly composed of steel and copper, and in 
an entirely novel architectural exterior. On this Wagner emb- 
odied the ground principles of Suitability te purpose, truth 
‘in materials and durability in the most thorough sense. Ag he 
Says in the explanetory report on the design prepared in 1904: 
“the materials employed for the erection of the building are 
evidently the best conceivable, and thereby regard is paid +o 
far as possible to the requirement of eternal duration, insep- 
arable from architecture”. The surfaces of the facades are fa- 
ced with marble slabs 0.79 inch thick, that are held by bond 
courses 11.84 inches high and 1.58 inches thick. The latter 
are fastened by copper heads left visible and screwed on steel 

_. anchors pessing through holes in the marble slabs and fixed in 
the walis. (The same method of covering was chosen by Wagner 
for the Postal Savings Bank in Vienna, built in 1904; Figa 315). 
The construction of the drum and dome is entirely executed in 
Steel covered by stamped and hammered copper sheets. The stro- 
ng emphasizing of the system of incrustation determines the e 
external appearance, but also lessens the igpression of the 
Powerful and the monumental, since the covering conceals just 
those parts of the construction, which have to take the stati- 
cal functions of support and bearing. 

The architectural treatment of the details permits the dist- 
inguishing of two main currents in the modern movement. One 
of them proceeds from the basis given in the historical styles, 
while the other is directly connected with then. On the part 
of those architects, whose art designs are inclined to a bold 

7-9 and nucleate treatment, and for such buildings, that according 
to their purpose should express force and stability, the early 
mediaeval forms enjoy a certain preference. put where a rich 
form expression is desired, the late Gothic, the Barocco, and 
particularly the Biedermeier style, whose art tendencies exhi- 
bit so many tendencies in common with those of modern times, 
(page 269) form the basis for a new creation, to be developed 
further. The adherents of this tendency have a strong support 


pues 


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346 
in the animated interest in again securing a permanent native 
art; extended throughout the largest classes. 
Phe other current of the movement in a more restricted sense 


“modern” artisti decide for an entirely unififluenced and inde- 


pendent treatment of the details. Yet these are still not un- 
ited in their aims. A portion of them is completely permeated 
by the mode of thought of the engineer, who erects buildings 
for the purposes from a purely utilitarian Standpoint. They 
Seée in the direct effect of the form for the purpose and in t 
the accentirhg of the construction and of the character of the 
materials, the most important and most Satisfactory esthetic 
moment of t architecture, and therefore reject all ornament- 
al decoration in the most thorough manner. There is expressed 
herein the reaction against the art conception of the precedi- 
ng period based on ornamental richness. Doubtless the archit- 


ects engaged in this direction, who are not unjustly designat- 


ed as “Buritans”, thereby acquired high merit for leading mod- 
érn architecture into sound paths, that they required a strict 
purification offarchitecture frsem all superfluous accessions 
and carried this out on their buildings. 

Opposed to them is another group of architects, who see the 


‘ principal attraction of their works just in free decoration by 


ornaments kept entirely modern. These are chiefly guided, not 
by regard to structural development; they rather consider the 
facades as surfaces, that may be decorated by correct thought. 
Not seldom are entire facades dominated by ornamental decorat- 
ion; even the construction and the Goors and windows are arran- 
ged accordingly. Otto Wagner, who is such a temperate leader 
of the new School in Vienna, in regard to the enployment of or- 
nhamental forms, on his Business Building in Wolizeile (Woolen 
Row) in Vaenna uses this kind of surface decoration for anina- 
ting the fecede, monotonous on account of the uniform distrib- 
ution of the windows. (Fis. 313). The decoration appears as 

&@ Single covering hung over the entire front from bronze lions’ 
heads beneath the main cornice. But the ornaments are still 
modestly arranged within the definite network of the windows 
Without reference to it. An infinitely greater importance is 
assigned to them on the Business and Apartment Building in 
Schadowstrasse in Dusseldorf obwilt by G. Wehling in 1899 and 


sie 4 rg At . 
awr me ‘Nis I » 
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gt 318 Lenoe19a 34% to sonsaimobera sdf os Saioroocs bas curt 
gaq5d eositsmoe woldorq Leawsostidors io baid ada 10 aoiseatre i 
-9egidoss odd isvo etool sao Il .sbis isaso sav Jo so OF SIOW a 
—eaidns ifoda ai agatdiivd) assbom io alisieb saa to emiot isis am 
etefaaos seouls sid at eet yilevon gatdiage seom odd sons ,¥a 4 
ewobuiw odd to aewaofon’  -e1stoetidors wobaiw to inomaohasde (16 ‘ 
_betaess 0900764 ods bas eoaseaisneh sd doida ai xerosm odd oi i 
" ea ess yilesoiasce®: .destime ylottias teonle e1s , mods | 
tadd oF seltmie tonaem @ at aaatbluew dtiw actiovso ona aysi Y 
=bom edt al, .espe elbbdim ods to sgnibiiud rsisose ao beyolaws h 


; ahve tad? ,egataeqo elao yliogoig s16 ewobuin eds .f1s 019 
pe rela ts suo ers dotdwose ,tiesedi dtowomsth {ergdou1se ody gost 

eo edd) saiwreds0.,-.cooelave Lisw sdd ai eias 
: | edt) sotaividdus exttpe odd mort entstet yiao edus 8 @s 970s 
sf yd agizote ofat aoteiwth edT .e0tavoa Laqioniua odd has sasd 
: oe -bestesdaas: [Lise eias at ylisaoitusoxe vise corer. at esica 
esha pesos assed ads no emtot iieteb odz to sacussert oil 
os ETO ais ,eR ved oie ons 89° ,etsia, io ons sanuioo . 


. or, — oe: 


347 


(y vepresented in Pig. 314, Here not only the form of the windo- 


a 
sy 
+) 
ww 


WS in the uppermost story, but also the entire termination of 
the facade is dependent on the lines of the ‘ornaments. The up- 
per story no longer has any organic connection with the subst- 
ructure. This facade certainly forms an extreme in the style 
tendency designated. Its most fruitful field is found in pri- 
vate architecture, where the need of decoration is less suppor- 
ted by art and esthetic criticism. To i dividual character a 
and artistic caprice is thus opened a fied for the freest act- 
ivity. Phere originate buildings in not a few cases, such as 
One wes previously at mest accustomed to see in exhibition ha- 
lis, which were only erected for temporary purposes and by th- 
eir entire nature were~@esiréd to produce effects attracting 
attention by the simplest means. But in the final result, su- 
ch &@ procedure in “architecture” must lead to anarchy in style, 
that certainly does not further the obtaining of fixed artist- 
ic ground principles for the architecturel creations of our t 
time, 

The two tendencies here mentioned denote the extremest limi- 
ts of the modern movement. fut most architectural creations 
of our time spring from a conception, thet retains the middle 
line and according to the predominance of the personal art in- 
agination or the kind of architectural problem sometines turns 
more tO one or the other side. If one looks over the architec- 
tural forms of the details of modern buildings in their entire- 
ty, then the most striking novelty lies in the almost complete 


- abandonment of window architecture. Enclosures of the windows 


in the manner in which the Renaissance and the Barocco treated 
them, are almost entirely omitted. Occasionally aee found sp- 
lays and cavettos with mouldings in a manner similar to that 
employed on secular buildings of the middle ages. In the mod- 
ern art, the windows are properly only openings, that result 


from the structural framework itself, or which are cut at ple- 


asure in the wall surfaces. Otherwise the architectural struc- 
ture as a rule only retains from the entire subdivision the d 
base and the principal cornice. ne diwision into stories by 
belts is rare; only exceptionally is this still emphasized. 

The treatment of the detail forms on the bases and capitals of 


columns and of piers, on the portals, bay windows, main corni- 


> bas asofnr0o 
idee as atodaea aid is poas anseabuoees? ~siamexs rot 

it to mrot sagvoruw yilsocnioes bas gusieeggs vyileiussea 
7 eeoetnwe anaiq eds asa sted 9 .beyolqas eletystsm— 
646 tedd .bsliot 10 tuo ,awss ome tadd ,alsistedea to 
78 ; se batbfoded .aiif eds bas badoavd .bsiemgsd , lates. ‘' 
nee 308 ‘years. StS .9f9).emiok btait séeisqes svotsmeda to osaoq 


the: “dtoz 6 to betatanco yedd Yi os atedmom aid amtol shieV¥ ob aeV 

bas bana aadivosateiah oft Fa notdw .isizessm oisesla has 

* Upauteiedtib taode scadtatast bas o1secotq o1edw ylaslootriea ous Bi 

- Stadowase ‘edt bat ilsoot ,eur0t siti-dood ofat #90 ework ,baees a 

-tretem at d3eut tastatenes to saomsttupes odd ATEW .a2adcd To ‘a 

7 oanente vnaphengs tonnes etds (woktamrot to sbom ods totals | & 

} ee PUTAS Oy vicudo 4 

i ateetidota atobow odd to soitqeonoo toista add od SafoTOODA , 

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| abiviastvotsxeq® e50i199 r9tires nt evisentassseb yoostls o9fs 

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} y i 
ae 


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: LS ahaha .easem [evon yvletitaa yd wedt yisisee of sisse 
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s[oteseeaieds ni bas sent{ eds to ea1u00 ads ai 99@ etoasidors © j 


| =100 syd bom10h 2t atesd seodw .emyot sosiseds To woidsatodis 


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: 


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% “Soneage qonabaet wedto edt . (OL 683) .toenca totdo sad ga 
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gow {beat{saottaevage(yloett t1sq ai ste amtoi etl -mobaaty 
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i 
, 
, 


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| | 69 9Y. 10086) aly ac ot eaoisoast tieds 


ie Dn 9 Aa A 1M “ 


: 
Py 


CIO 


348 
cornices and crowning members is entirely individual. Thus f 
for example, Otto Wagner treats his members entirely in the 
naturally appearang and technically wrought form of the solid 
materials employed. We here see the plane surfaces composed 
of materiels, that are sawn, cut or rolled, that are. carved in 
metal, hammered, punched and the like, beholding the whole com- 
posed of numerous separate rigid forms (Pig. 312, 315). But 
Van de Velde forms his members as if they consisted of a soft 
and plastic material, which at the intersections and endings, 
and particularly where pressure and resistance should be expr- 
essed, grows out into knob-like forms, recalling the structure 
of bones. With the requirement of consistent truth in materi- 
als for the mode of formation, this cannot certainly always 
comply. 

According to the strict conception of the modern architects 
in the architectural treatment of the buildings, the ornament 
only possesses a justification in so far as it is serviceable 
to the clarity of the architectural expression, thus indicati- 
ng the statical function of support or burden or the subordin- 
ate effects of definite stresses. The same requirements were 
also already determinative in earlier periods, particularly in 
bhe best times of the Grecian antique and of the Gothic for t 
the employment and treatment of the ornaments. Rut modern art 
seeks to satisfy them by entirely novel means. likewise in t 
this are to be distinguished two tendencies. A portion of the 
architects see in the course of the lines and in the #asteful 
alternation cf abstract forms, whose basis is formed by a non- 


vy, existing course of lines, consisting of seometrical interlaci- 
ngs or repeats or entirely free, with a color treatment formi- 


ng the chief moment. (Pig. 316). The other tendency takes-dts 
ornamental forms from nature, and particularly from the plant 
kingdom. Its forms are in part freely conventionalized, so t 
that the natural models are no longer recognizable (Big. 3179,~_ 
and in part are reproduced with an acute accenting of charact- 
eristics. Not only the forms of leaves and flowers, but also 
the roots, the branches, the form of the stem and bark, the 
junctions of the twigs and buds are thoroughly studied and em- 
ployed in accordance with the legitimate manner dictated by 
their fupctions in nature. In decorative painting liwing bei- 


wee i TM it: ns Be 
git Se ldad sf 


Che 
avn iteidohevcs .tis0 tostroqmt ne ysla sodsaut skated 
a veasasoubasl neve bus ,sttl off Sas eRowd pebsesil .cb1id 


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-vew od¢ to ifomscd sot -{sbom 2 semooed J78% easusqsl seu 116 
9sat yiev s ai xws9eq0s (8% saeqa .f emuiov) oaad buolo ads .29 
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o¢ Stiri wom Suiwie .edts tontw odd [fe ao dus .nits Siszom 903 
sonte ,alidsenev a6 yrodosterise od Jom vsH Jr Joy Oak ..wedd 
bas daaxtaoo edt .enotd1oqgexg eds .wdivrt io agol isisaek ods 
,beesd ef tasmsa10 odd Yo soneterxe adé doidw ao ,yisoumye ond 
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to aldeqso aevitom [soiit0tetd Jqohs os aoitsaitont ad3 gies 


,os007es sdé to daa Lsveribem to sso? ylistosqes ,Jasnqeleveb 9’ 


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‘et? .edtsa woo tetas eteife1 s1wait Istetoeridore ouiwodtd 
fenottaevaoo ai bsrttateq joretqinoe Latatossidors ofseieesio 
eds dgin betoean09 yiesool ylao yltaonpe1t .aotessigxs te fost | 
t to4 .yousbasds otterises s of sosiq svia Jeum .notsouss anos 
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atedt at wiet [esetoegaido1s atebom sd% ut beowboitai efivieds 
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-ittbuveds of ebdsel oted sewisqua 943 To sogstseqqs sat yiaied 
vases aa aml rt 18 gusdt Jud yee 


ga 


349 Ros aca Ae” 
beings further play an important part, particularly fishes, b 
birds, lizards, frogs and the like, and even landscapes. If 
the use of living objects in ornament chiefly manifests the 
enjoyment of nature, then landscepe motives only serve substan- 
tially for the production of harmonies. gor the manner of th- 
elr use Japanese art becomes a modei. The turmoil of the wav- 
es, the cloud band (volume 1, page 49) appear in a very free 
conventionalization, animated by plant and animal forms of ali 
kinds. Hor example, we see here the swan, that sometimes mov- 
es among animated waves (Fis. 318), sometimes swims toward us 
from the windings of a watercourse bordered by reeds; there t 
the forms and the landscapes are so simplified in the course 
ef the lines and the colors, that the model at most may be re- 
cognizec in the outlines and in two or three ground colors. d 
dust for this sort of observation of nature has Japan siven 
valuable suggestions. Modern plant ornament has the advantas- 
es of Ssreat diversity and mobility, with evident clarity and 
Simplicity; it bas an extraordinarily fruitful effect on the 
style of decoration, particularly on glass staining, ceramics, 
the mosaic arts, and on all the minor arts, giwings new life to 
them. And yet it may not be satisfactory as versatile, since 
the general loss of rythm, the proportions, the contrast and 
the symmetry, on which the existence of the ornament is based, 
are not always fulfilled. Therefore appears in increasing me- 
asure the inclination to adopt historical motives capable of 
Jgo development, especially those of mediaeval art, of the Barocco, 
"and of the style of bouis XVI, end to give them e modern life. 
bikewise architectural figure reliefs enter new paths. The 
classistic architectural sculpture, petrified in conventional 
lack of expression, frequently only ioosely connected with the 
construction, must sive place to a realistic tendency. Not t 
the classical repose but movement, as reouired in the represe- 
Rtation of labor, is here expressed, and indeed in ea concepti- 
on of the object and its material. This of itself led to a 
treatment allied to the Barocco. The Barocco figures are tas- 
tefully introduced in the modern architecturel form in their 
composition and development, and enhance its @rand%effect. Cer- 
tainly the appearance of the supermen here leads to absurditi- 
es; but these are not seldom to be placed to the account of a 


onan Devine ‘sees tsxiiscot a eciaes vaued eset 
. anal * ada’ de. 10% eoviade. pessisacon aba eis io gaixiesa 
+ uw om i odt at oaks eleiies n1isbom odd aeve de¥ -aliatod 
oe ytiorlqaie tae13 io escemsiiegst bago1h 3d yadeo 
- erry) edd ot aoiésatdt09de2 sidetine s déiw .easow tasd 
a8 80) nous of b8o01000s 34,07 af dorama Sissosdtaors sad To 
gen ah -Jtivow Isio 

pees ao dank testi be02% aed cakwedil guttaiea aviseroosd 
| =WE6 Besoorg som 2000 3i Ti Geve .yew awo art asok bas aaoia ld 
80 sfdatrezo0s009 .sgonseltat [stackt0 dasivas work yidasare 
at bas teéles ai enoitqeos’ to actawdoxe edd at moitasonoo ev 
was as [fisw odd teexs oF etooe tedte1 Raisaie® .svisoeqaeted 
| fobrsdat. edt 2ntecloas Jo sgo0a1ve ath dtiv soandteo0n ai soBt 
fo toved ak taomiaest swoidoylog sdt atostie1 si’ sacicisds bas 
#0: tose ebteed boosiq atoleo ossinowied vilvisiss es1ds 10 ong 
-@bastiosd -asiatete eesip at axsoogs ylnielg deow etaT .t9de 
a ~teq, ovsait bas istaomento aft af ys toliqnia Jeeta esaivpst me 
eta nies tt ead, omits Josost teom- ods at ylnO -.emo0y to Raidn 
AEN: G2 -sonsvds te tot tfeatf o518e0 

_ efiois Qafheol to enoives1, tmanimorq eds Yo aoidues rsdda254 
emer’ gaum .etetqedo zeifwee oat ai asvig sion veds as .etost 
“sgons@aoami bas avosiq tisdt to siewites as 104 .ay Yo dosdL | 
ie asian Of Siuoitito od bivow sr .sisiostitors Yo yiotaid odd af 
— oddata dotdw wort ,eoid efst te yossils tnfoqgiuspa bexit s 9% 
gas bas adostdo,ssiv evieaesdatgmoo 8 ddin bevisado taddxe od 


$- 


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‘ pin 0% ydiavdtouge ns etaixs yisotsoa Sasbai exsds oslh .meds 
eee acibecs4g edt 10% sonsbive tedtwwt to aottersmuas adt 
ee ,ekatblivd atobom edt avisedo ylovitaetie tad ang del {sia 
(eatin ga bokt dhtw of bas .oxsdwyteve s200ls botoots axa yond 
ee niiviews | : ~eelqusre:-To sons 
; neh lis vioabi aid shies toa at eoias Snsaevom arabow ed? 
Bi ae yaseted ai bawot gm sud ;P@uswacieveb ewss ong estade deci lt 
1} hie asotvesy sti revo atool eno TL. .ifoa aidesovel yfisiveisies 
re og Naa ea as 19%9 Batsiatouso8 6 divbw, auniintwete 


Side iis liso iehtebel inatene etic obvi 
jepa ogis st .settsex ivtvot) bas aa1k bs 
| Berea, Foam wes 


a a 
a 


350 


less happy mode of conventionalization, that the powerful emp- 
hesizing of the characteristic strives for at the cost of the 


details. Yet even the modern reliefs also in the better works 
ebey the ground requirements of sreet simplicity and self-evi- 
dent means, with a suitable subordination to the sreat lines 
ef the architecture, which is to be accorded to them as & spe- 
Gial merit. 

Decorative painting likewise has freed itself from most tra- 
ditions and goes its own way, even if it does not proceed div- 
ercentiy from ancient oriental influences. Characteristic of 
its conception is the exclusion of deceptions in relief and in 
perspective. Painting rather seeks to treat the wall as a sur- 
face in accordance with its purpose of enclosing the interior, 
and therefore it rejects the polychrome treatment in favor of 
two or three carefully harmonized colors placed beside each o- 
ther. This most plainly appears in glass staining. Puriteni- 
Sm requires great simplicity in the ornamental and fisure pai- 
nting of rooms.- Only in the most recent time has it again pre- 
pared itself for an advance. 

Parther mention of the prominent creations of leading archi- 
tects, as they were given in the earlier chapters, must be om- 
ittea by us. For an estimate of their places and importance 
in the history of architecture, it would be difficult to secu- 
re a fixed standpoint already at this time, from which might 
be further observed with a comprehensive view,objects and app- 


-, €arances not yet come to rest, and to objectively decide on t 


them. Also there indeed scarcely exists an opportunity for t 
the enumeration of further evidence for the preceding stateme- 
nts; let one but attentively observe the modern buildings, as 
they are erected elmost everywhere, and he will fine an abund- 
ance of examples. 

fhe modern movement takes in architecture in nearly all civ- 
ilized states the same development; but it found in Germany a 
particularly favorable soil. If one looks over its previous 
acquisitions with a scrutinizing eye, then is presented to us 


@ varied picture of strongly pulsating life. Modern art has 


Siven to the youthful artist world the strongest impulse towa- 
ré free and joyful creation. It also seeks to permeate our e 
entire culture and all classes of society. Not onky the impo- 


Ried bala 


dined : ’ £83 

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dd wort thtened dzetset® dd bovissh sed? .oavod a*isi | 
bas is ieee pes i wesiiidssiue amsigxs of 


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gl i ‘ a a8 a bas ysiasegorg to .,somedetxs | 
noite eee TOKO ea to mente 


351 
imposing house of a nobleman in a villa suburb, but also the 
simplest dwelling in the modern workmen’s village receives 
from it an individual stamp. Yes, perhaps it is just the wor- 
ker’s house, that derived the greatest benefit from the regard 
to extreme suitability, convenience, adaptation and durability. 
fhe sharp accenting and consistent carrying out of the funden- 
ental requirements for the architecture, freed from the formal 
compulsion of traditions, in its permeation by modern technics, 
introduced an advance, most hishly important for the evolution 
of architecture, which first of all is recognized in the enti- 
re transiormation of certain architectural types, and indeed 
in @ sense required by its purpose. Also we now already have 
&@ greater number of medern architectural works to indicate, w 
which as an artistic entirety merit our full consideration and 
wonder. Rut otherwise in the flood of phenomena and from the 
purpose of the culture currents of our time may not be crystal- 
lized a consistently developed art conception and art express- 
ion. The haste in seeking and striving for new forms produced 
such disquiet in art taste, that today is rejected, what only 
& few years since caused astonishment as a great artistic work. 


We shall only enter safe paths, when architectural creation is 


led by ground principles, which besides purely practical aims, 
at the same time presents a fixed and unified artistic progra- 
mme. Indeed in every time of transition has not been wanting 
& wonderiul mixture ef styles and bold new forms, which have 
Subsequently shown themselves to be without result. But in t 
the older forms was required a positive scale, which -- and we 
must not deceive ourselves concerning this -- is lost with the 
complete freedom from the art of the past desired by modern a 
architects. A substitute for this is not siven by the guiding 
Lines derived from the requirement of suitability, structural 
truth end genuineness of materials. With the fulfilment of t 
this requirement in ganeral the interest of the engineer in h 
his buildings is exhausted, but not that of the architect, who 
is at the same time an artist, or should be one; besides this 


‘and according to the purpose of his architectural work, he yet 
“>seeks substantially for the impression of comfort, of joy in 


‘ existence, of prosperity and sufficiency, and to produce the 


1 


feeling of greatness, power, dimensions, elevation, earnestness, 


hain her oft (bis ens tk ll ~Racainizeons 
9 bai a Tidussi elgniboraeorangnyeeOeNtEs/// 77" dbp / 8° si 
| co (ob aeaide’ Iwtitosed ylerea awd J eapti/dnr, pra to 
on Lanisoen to aoisoaiaties Lscrndces atsoent die / Uh t bejyd 
‘to bac nortoustedoo Yo songafmots sar sidati as Jaub 
ip YO! enoat8 3 teido ods sansa ottodsee ads at od asd isr4 
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35 
cheerfulness, magnificence, charm and the like, which as a ru- 
ie can only be attained by correspondingly beautiful effects 
of his creations. But purely beautiful things do not result 
from the engineer’s technical satisfaction of practical needs. 
Just as little the prominence of construction and of the mate- 
rial can be in the esthetic sense the chief purpose of any ki- 
nd of “artistic”’creation. Technics and materials are no crea- 
tion, but only conditional factors, that serve the artistic p 
power of production, the active will as means for the purpose 
of beautiful treatment. We have earlier seen, how among the 
#gyptians the vast pressure’ toward monumentality created the 
technics reouired for this activity, how with the Greeks the 
very refined art feeling developed into a slorified orderline- 
SS the construction for the embodiment of its formative ideas, 
how the Romans in accordance with their enlarged circle of ci- 
vilization and their consciou power extended it for their nee- 
ds and even carried it to Ssrandeur, and how the middle ages en- 
bodied its art will directed toward the spiritualization of t 
the material in technics worked out to the last result. Tech- 
nics only afforded the means and methods for the physical pro- 
duction of art works, but never a starting point or beading f 
tractor for the power of artistic creation. This subordination 
of technics to art will is expressed even more sharply in the 
different periods, the sreater the maturity of their culture. 
In the culture stream of our present time, that is so impulsi- 
vé and so rich in new purposes, we may at least hope to be ab- 
le to develop a striking style and ea permanently satisfactory 
expression. If we desire to advance, we must give to the art- 
istic primitive force, to the innate in us to beautiful treat- 
nent, that aims and suides, that come from=theimaturity of our 
culture, and we must advance with the progress of the spirit 
of the time in art life as well. Besides and with the extren- 
est fulfilment of the problem in regard to purpose, technics 
and materiel, of our buildings, we must also seek to Sive them 
a beauty corresponding to their purposes, a beauty in which t 
(the mode of thought of our time receiwes a likewise character- 
istic appearance, as was the case in the earlier centuries. 

The seeker for beauty in architecture, perhaps more than in 
any other domain of art, must be Suided by clear processes of 


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353 
thought and by fiked and lasting conceptions. But by the com- 
plete rejection of traditions, these would renounce their most 
secure starting point and support. bikewise in art are lews, 
that continue permanently, that can just as little be lost, as 
in the experimental sciences; the neglect of these laws can on- 
ly result in a restriction in the natural course of developme- 
sunt. f¥odern art is only one link of the chain of culture exte- 
; nding back to the earliest epoch of human intellectual life a 
and continuing through thousands of years. Like each precedi- 
né art style, it is the product of a longs development} this 4d 
development cannot be carried further consistently, if one do- 
es not know the way in which it bas come, if he must in a cer- 
tain sense again start from the primitive condition of the for- 
mative arts, and wishes to reject the extraordinary wealth of 
experience and of the power over form, which the culture of e 
earlier centuries has left behind. Not by the denial of the 
importance ofstradition, not by the reversal of its ground pr- 
inciples, but by a conscientious examination of its acaquisiti- 
ons, in what manner these may be revalued and cast into niw f 
forms, as this occurred in earlier times of transition from 
one art style to another, shall we succeed with assured aim in 
grasping the problems ef our time, whose entire worid is bound 
by numerous cords to those of the past epochs of civilization. 
This examination indeed must not limit itself to a formal com- 
parison of styles. Only the genetic method, following the gr- 
owth and the development, in order to understand the completi- 
on, which is indeed native in all domains of research, can ‘he- 
re lead us to the aim. The deeper penetration into the histo- 
ry of the evolution of architecture sives us the most valuable 
indications for e sesultful development and clarification of 
the style feeling; it warns against evil outgrowths, produces 
tolerance of amateurs, end is only opposed to looseness of st- 
yle: it principally impels observation and criticism, and the- 
reby arouses the consciousness of independent creative abilit- 
ies: it forms, what is indeed the most important, goed taste 
(seeking for beauty, which also in architecture denotes, and 
must denote the truly creative force. In bringing out e hist- 
orically founded understanding of the present time, we shall 
best assist in a permanent further development of art, corres- 


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